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Yun Fu
Jing Chen
EALC 275
March 7, 2014
Analysis on Yugao in The Tale of Genji
In The Tale of Genji written by Murasaki Shikibu, each character possesses distinctive yet
consistent characteristics. However, few characters show signs of personal growth with the
development of plot other than the major characters. To a certain extent, personal traits of the
main characters only change due to aging while others show no signs of change due to different
reasons. Although Yugao, a mistress whom is pursued by Genji but soon faced demise, takes up
relatively little material in the development of plot, her brief encounter with Genji creates a
strong contrast that reflects her personality and the concepts of Miyabi and Mono-no-Aware in
the Heian Period.
Compared to other female characters that have had affairs with Genji, Yugao only takes
up a limited portion in The Tale of Genji; in fact, the mere appearance of Yugao would not have
been enough to show her personality. Yet Yugao takes an essential role in the plot development of
the story. Coming into contact with Genji after the discussion on different types of women,
Yugaos personality could already be predicted as the most desirable to men from any social
status, as Genji stated before their encounter that it would be amazingto discover an
unbelievably sweet, appealing maiden shut up in a lonely, dilapidated, vine-choked dwelling, her
very existence unknown to others (The Tale of Genji, p.44). Coning from a lower social class

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and being the daughter of a fisherman (The Tale of Genji, P. 71), Yugao would not only be
hidden from the outside world but also be free from the flaws that women in higher classes
possess.
Together with her submissiveness and innocence, Yugao also represents the concept of
Miyabi, the idea of courtliness and elegance in women, in a different way From the Rokujo Lady.
Described as exceptionally dignified [and] correct (The Tale of Genji, P. 62), the Rokujo Lady
represents the perfect sense of Miyabi. Yet, Genji loses interest in the Rokujo Lady easily
because she lacks the harmony of two extremes stated in the Yin-Yang concept. Oppositely,
Yugao receives more attention from Genji because she represents a different form of Miyabi; it is
the fact that Yugao confounds Genjis expectations, though she might still be in fact limited,
that marvels people and make her hard to dismiss (The Tale of Genji, P. 44), which can also be
related to the idea of Okashi, or amusement during the Heian Period.
Finally, Yugaos short-lived role in the story symbolizes the concept of Mono-no-Aware.
Mono-no-Aware suggests that impermanence resides in all things; everything in life, including
objects, memory, fame, and life itself, is evanescent and cannot surpass the established
boundaries. Yugao, too, is subject to death and cannot escape her fate when the time comes.
Yugaos demise serves as the first life lesson that Genji is bound to learn before his peak
moments in life, and implies that such will eventually lead to Genjis retrieval into religious
lives.
In conclusion, Yugao plays an important role in regards to the plot development and the
deliverance of concepts in the Heian Period. Although she does not display much independent

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characteristics or show any personal growth over her appearance, her role foretells readers of
what is to happen next and helps moving the plot to later peak moments.