In the study of Monogatari literature, commonly referred to as dynasty literature, royal authority or the rightful claim to the throne are not clearly defined. Due to the fact that such literature, represented by Genji Monogatari, is a product of the aristocratic society of the Heian period itself, one must assume it has been subjected to royal censorship. From this perspective, it is undeniable that Heian literature is intimately intertwined with royal authority. However, considering that the depiction of royal authority within Genji Monogatari and similar works follows within the context of exploring Monogatari themes rather than directly questioning royal authority itself, it is necessary to understand the portrayal of royal authority within the works as a representation of rhetorical royal authority. For example, both the king who ascends to the throne and the protagonist Hikaru Genji, who exhibits the weight of kingship without ascending to the throne, are both portrayed within the context of the issue of royal authority in the works. Furthermore, the significance and role of women associated with royal authority lead the major themes of Monogatari along with underlying mythological interpretations. The portrayal of women embodying the imagery of offerings like Wakamurasaki Maki and Wakana Maki should also be carefully examined. Lastly, there is a need to consider the aspect of royal authority related to “salvation,” a significant concluding theme in Genji Monogatari, from a new perspective. The world of Uji, situated far from the central Kyoto, serves as an ideal stage for conveying the exiled royal authority. It can be said to represent the world of royal authority where Monogatari begins, a realm of royal authority that starts from the sacred and transitions to the secular and vice versa, demonstrating a new realm of royal authority.