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The extensive repertoire of [[kabuki]] plays is sub-divided into a great many sub-categories, types, or descriptors. Many of these, such as the categories of ''Dôjôjimono'', ''Sogamono'', and ''Shakkyômono'',<ref>''Dôjôjimono'' are based on the Noh play ''[[Dojoji|Dôjôji]]'', and feature a woman whose jealousy transforms her into a serpent demon; in the most famous scene, the serpent wraps itself around a large Buddhist temple bell. ''Sogamono'' are inspired by the classical ''[[Soga monogatari]]'' and features the Soga brothers, who are on a quest to avenge the death of their father. ''Shakkyômono'' (lit. "stone bridge plays") are [[lion dance]]s referencing a traditional Chinese story of lions playing at a stone bridge.</ref> refer to groups of closely related pieces based on the same original literary or theatrical source (such as a [[Noh]] play or piece of classical literature), or set within the same ''[[sekai]]'' ("world").

The extensive repertoire of [[kabuki]] plays is sub-divided into a great many sub-categories, types, or descriptors. Many of these, such as the categories of ''Dôjôjimono'', ''Sogamono'', and ''Shakkyômono'',<ref>''Dôjôjimono'' are based on the Noh play ''[[Dojoji|Dôjôji]]'', and feature a woman whose jealousy transforms her into a serpent demon; in the most famous scene, the serpent wraps itself around a large Buddhist temple bell. ''Sogamono'' are inspired by the classical ''[[Soga monogatari]]'' and features the Soga brothers, who are on a quest to avenge the death of their father. ''Shakkyômono'' (lit. "stone bridge plays") are [[lion dance]]s referencing a traditional Chinese story of lions playing at a stone bridge.</ref> refer to groups of closely related pieces based on the same original literary or theatrical source (such as a [[Noh]] play or piece of classical literature), or set within the same ''[[sekai]]'' ("world").

*''Maruhon-mono'' (丸本物) are plays adapted from the puppet theatre. These tend to be some of the longest plays, with the most thorough narratives and complex characters; the influence of the puppet theatre played a crucial role in kabuki's development towards having fuller plots and being more narrative-oriented. ''Maruhon-mono'' include ''[[Yoshitsune Senbon Zakura]]'', ''[[Kanadehon Chushingura|Kanadehon Chûshingura]]'', and ''[[Sugawara denju tenarai kagami]]''. The ''[[gidayu-bushi|gidayû]]'' genre of music used in these pieces is often called ''takemoto'' in kabuki, after [[Takemoto Gidayu|Takemoto Gidayû]], the originator of the genre.

*''Maruhon-mono'' (丸本物) are plays adapted from the puppet theatre. These tend to be some of the longest plays, with the most thorough narratives and complex characters; the influence of the puppet theatre played a crucial role in kabuki's development towards having fuller plots and being more narrative-oriented. ''Maruhon-mono'' include ''[[Yoshitsune Senbon Zakura]]'', ''[[Kanadehon Chushingura|Kanadehon Chûshingura]]'', and ''[[Sugawara denju tenarai kagami]]''. The ''[[gidayu-bushi|gidayû]]'' genre of music used in these pieces is often called ''takemoto'' in kabuki, after [[Takemoto Gidayu|Takemoto Gidayû]], the originator of the genre.

*''[[Matsubame-mono]]'' (松羽目物) are plays adapted from the Noh and ''[[kyogen|kyôgen]]'' theatre forms. The term (''matsu'' meaning "pine tree") takes its name from the prominent painting of a pine tree that dominates the back of the stage in these plays, as it does at Noh and ''kyôgen'' performances. Unlike in most kabuki plays, where the musicians are hidden behind a latticed screen, in ''matsubamemono'',

*''[[Matsubame-mono]]'' (松羽目物) are plays adapted from the Noh and ''[[kyogen|kyôgen]]'' theatre forms. The term (''matsu'' meaning "pine tree") takes its name from the prominent painting of a pine tree that dominates the back of the stage in these plays, as it does at Noh and ''kyôgen'' performances. Unlike in most kabuki plays, where the musicians are hidden behind a latticed screen, in ''matsubamemono'', the musicians are positioned in clear view, seated on an upstage platform that extends across the stage, in emulation of the onstage chorus and ''hayashi'' (ensemble) of the Noh and ''kyôgen'' forms. One of the most representative examples of this sub-category is ''[[Kanjincho|Kanjinchô]]'', a play based closely upon the Noh play ''[[Ataka]]''.

the musicians are positioned in clear view, seated on an upstage platform that extends across the stage, in emulation of the onstage chorus and ''hayashi'' (ensemble) of the Noh and ''kyôgen'' forms. One of the most representative examples of this sub-category is ''[[Kanjincho|Kanjinchô]]'', a play based closely upon the Noh play ''[[Ataka]]''.

*''[[Shinju|Shinjûmono]]'' (心中物), also known as "love suicides plays," feature stories of star-crossed lovers (often a townsman and a prostitute) who are unable to be together in life, due to societal barriers or their personal life situations, and who thus seek to commit double-suicide, so that they can be together in death. "[[Love Suicides at Amijima]]" and "[[Love Suicides at Sonezaki]]," written by [[ningyo joruri|puppet theatre]] playwright [[Chikamatsu Monzaemon]], are the most famous and representative examples of this sub-genre.

*''[[Shinju|Shinjûmono]]'' (心中物), also known as "love suicides plays," feature stories of star-crossed lovers (often a townsman and a prostitute) who are unable to be together in life, due to societal barriers or their personal life situations, and who thus seek to commit double-suicide, so that they can be together in death. "[[Love Suicides at Amijima]]" and "[[Love Suicides at Sonezaki]]," written by [[ningyo joruri|puppet theatre]] playwright [[Chikamatsu Monzaemon]], are the most famous and representative examples of this sub-genre.