century. Many publishers would adapt and abbreviate the main messages from the , preserving the essence of the storyline and morals but presenting their own interpretations of them. In this way, can be seen as a type of social commentary in the way that it re-interpreted the Muromachi-period classics, as it reveals an insight into how society viewed the themes presented in these works. However, other sources seek to categorize the Edo narrative in a different manner. Kyokutei Bakin disagreed with the division of Japanese literature into colour coded genres and instead, sought to differentiate Edo fiction into the categories of , , and . Unlike the , these texts were differentiated by their genre, rather than the maturity level of the audience. For example, the term can be translated roughly to mean "fashionable humour," and focuses primarily on the pleasure quarters of Kyoto. The text type is distinguishable by the strong presence of an authorial voice which conveys concern for readership and acts as the benchmark upon which expectations of social and behavioural norms are created, the abrogations of which create humour. was a text type that, unlike , did not rely heavily on illustrations to entertain its audience and instead, used its characters and the moral situations in which they found themselves entangled in to deliver moralistic lessons to readers. Notable An early publisher of many was Urokogataya Magobei, who is known for having published the texts of Bunta the Salt Seller and the Princess Hachikazuki. A common theme of these works is that they are concise reproductions of other prominent works in Edo at the time. It must be noted that Magobei did not produce exclusively using the medium. His works range from the format to formats. Publishers would factor in the type of content they were producing, the length of the overall books and also the amount of illustrations they would incorporate in their work in order to choose the colour of the book and thus give the reader a preliminary expectation of the content they would find between the covers. Magobei's second son, Nishimuraya Yohachi, continued his father's legacy, albeit in a different art form. He published rather than , but the didactic content was more or less indistinguishable and in some instances, readers could be forgiven for assuming that he republished his father's work, just with a yellow rather than a red cover. The