Her jealousy subconsciously causes her ikiryō (wandering spirit) to become a Shiryo (also known as a Yūrei) that attacks and murders multiple other mistresses and wives of Genji.

[3] Her character is named after her residence on Sixth Street (Rokujō) of the capital city Heian-kyō, Kyogoku.

A teenage Genji begins his affair with the older Lady Rokujō, who at the time was also a consort of Emperor Reizei.

Lady Rokujō has a dream about an aggressive encounter with a rival woman, and wakes to find she smells of poppy seeds.

Unknown to Genji, Lady Rokujō's spirit is bound to him through her jealousy and overhears the conversation.

Lady Murasaki falls ill. Genji asks a buddhist clergy, Shintō deities (also known as Kami) of the native lands, and foreign Buddhas for help to perform an exorcism, but they are unsuccessful.

Lady Rokujō states now that she has died she wishes Genji would forgive her wrongdoings and defend her name.

In chapter Suzumushi, Empress Akikonomu expresses her wish to become a priestess to console Lady Rokujō's spirit.

[8] Lady Rokujō, disguised as an elegant village woman, finds a monk praying at a Shintō shrine in Nonomiya Sagano, Kyoto, and asks him to leave.

She tells him she visits the shrine every year on this day to remember the past and offer a ritual.

Lady Rokujō tells the monk her life story as portrayed in The Tale of Genji.

Lady Rokujō recalls her memory of parting from Genji at the Nonomiya Shrine after he had briefly visited her.

[9] Lady Rokujō's character is described in The Tale of Genji as an older woman of high-standing nobility.

Due to her status, actors playing Lady Rokujō's character have historically expressed dignity and grace through their movements.

Lady Rokujō's character is also historically meant to be dressed in luxurious fabrics and gowns to depict her wealth and status.

[8][9] Lady Rokujō is also an extremely emotional and jealous character throughout The Tale of Genji and both of the Nōh dramas.

Due to this, Lady Rokujō actors have historically been instructed to depict her as constantly wistful and painfully sad over what will never be.

Due to the original manuscript no longer existing, these translation issues remain unresolved.