Introduction, development, twist and conclusion

A term used in the construction of Chinese poetry, particularly zekku (poems of four lines). It is also called "kisho-tengo." The first line is called the kikaku, the second the jokku, the third the kusoku, and the fourth the ketsuku. The kikaku is the opening line and sets forth the meaning of the poem, so it requires a high level of style and an extraordinary idea. The jokku follows on from the kikaku and develops the meaning of the poem. The kusoku changes the scene, but needs to be unexpectedly original and become a highlight. The ketsuku follows on from the kusoku, brings the whole poem together, and leaves an implicit impression.

Spring Dawn (Shungyō) by Meng Haoran of the Tang Dynasty
[Awakening] Spring sleep is so sweet you hardly notice dawn -- The poem begins with an extraordinary expression that awakens the listener to the comfort of a spring morning.

[Continuation] Birds singing can be heard here and there - the bright scene of a spring morning is further developed.

[Turn] The sound of the wind and rain in the night -- The scene changes from a spring morning to a recollection of the wind and rain of the evening. The darkness created by words such as "night" and "wind and rain" contrasts with the brightness of the introduction and development, making for a magnificent transition.

[Conclusion] A few flowers have fallen - Following the turn of phrase, the poem concludes with an image of a garden strewn with wet fallen flowers, implicitly emanating a suffocating feeling of spring and leaving an ever-lasting impression.

In the end, this method of composition was naturally recognized as something that would bring the most effective flavor to the short poetic form known as zekku from the end of the Six Dynasties (3rd to 6th centuries), and reached maturity around the Prosperity of the Tang Dynasty (8th century). This method of composition also came to be applied to prose and other writings.

[Tadahisa Ishikawa]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

漢詩、とくに絶句（4句の詩）の構成法の用語。「起承転合」ともいう。第一句を起句、第二句を承句、第三句を転句、第四句を結句という。起句はうたい起こしで、一首の意を提起するものであるから、高い風格、非凡な着想が必要である。承句は起句を受けて、詩意を発展させる。転句は場面を転換するが、人の意表に出るような奇抜さが必要であり、一つの見どころとなる。結句は転句を受けつつ、全体を収束し、余韻を言外に漂わす。

　春暁(しゅんぎょう)　唐・孟浩然(もうこうねん)
〔起〕春眠(しゅんみん)暁(あかつき)を覚えず――春の朝の心地よさを、非凡な表現でまずうたい起こす。

〔承〕処処(しょしょ)啼鳥(ていちょう)を聞く――春の朝の明るい情景をさらに展開させる。

〔転〕夜来(やらい)風雨の声――春の朝の情景から、夕べの風雨の回想へと、場面が一転する。「夜」「風雨」などの語の醸し出す暗さが、起承の明るさと対照的で、みごとな転換をなす。

〔結〕花落つること知る多少――転句を受けつつ、水に濡(ぬ)れた落花の散り敷く庭を想像して全体を締めくくり、むせるような春の気分を言外に漂わせ、尽きぬ余韻を残す。

　結局、このような構成法は、絶句という短詩形にもっとも効果的な味わいをもたらすものとして、六朝(りくちょう)（3～6世紀）末期から自然に意識され、盛唐（8世紀）ごろに成熟したのである。なお、この構成法は散文などにも応用されるようになった。

［石川忠久］

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