Kishōtenketsu (起承転結) describes the structure and development of classic Chinese, Korean and Japanese narratives. The structure originated in China and was called qǐchéngzhuǎnhé (起承轉合) and used in Chinese poetry as a four-line composition, such as Qijue. From there, it moved to Korea where it is called giseungjeongyeol (Hangul: 기승전결; Hanja: 起承轉結). Finally, the art style came to Japan, where it is referred to as kishōtengō (起承転合), from which the English word derives. Kishōtenketsu is sometimes described as a narrative structure devoid of conflict, particularly in opposition to Western narrative styles.

In a study of this story structure in Taiwanese students versus a five-paragraph essay, researchers found that the students familiar with this story structure were better able to pick out the main points of the essay, and the inverse was also true—US students could better pick out the main points of the essay when it was restructured to a five-paragraph essay, but not in qichengzhuanhe form. They hypothesized that the structure of the essay also organizes cognitive thought.^[1]

History

The origin of qichengzhuanhe is said to be maybe Li Bai from the Tang Dynasty, but this is refuted because this predates the time period from the first mention of this form.^[2] This view is backed by Wu Yingtian who cites a 4-structure poetry type which included chin (hanbi), neck (Jingbi), belly (fubi) and behind (houbi) attributing it to Yang Zai.^[2]

However, it was firmly described by Fan Heng (1272-1330)as methods of doing poetry, divided into 4 styles, qi, cheng, zhuan, and he. Qi was described as straight.^[2] Cheng was described as a mortar, zhuan is change and he is supposed to be like a deep pond or overflowing river which helps one reflect on the meaning.^[2]

This means that the rhetorical style started out as poetry. This later influenced pianwen and guwento eventually create the baguwen aka the eight-legged essay.^[2]

However, after the baguwen lost favor with the fall of the Qing Dynasty, and due to its difficulty, a revival of the qichengzhuanhe form came back in popular education, relabeled now as kaiduan-fazhan-gaochao-jieju (beginning, development, climax, conclusion).^[2] Contrary to thought, the structure is not the same as the popular US and European-derived three-act structure.^[2]

For example, transitions can be anything from a sentence to a full paragraph which contrasts heavily to the five-paragraph essay where one sentence is encouraged for all transitions, rather than a full paragraph. One also can set up a call back to the beginning of the essay. The conclusion is said to need to be quick and one should not linger long on that part of the essay.^[2]

This form also was often used in both classical literature and contemporary plays such as Waves Washing the Sand.^[3]

Regional variations

There are variations of this dramatic structure based on region due to differences in how the Chinese characters are interpreted per the country and culture.

Japanese

The height of the bumps leading to the twist can change per story.^[4]

1. kiku (起句) is 'ki (起)': introduction, where 起 can mean rouse, wake up, get up
2. shōku (承句) is 'sho (承)': development, where 承 can also mean acquiesce, hear, listen to, be informed, receive
3. tenku (転句) is 'ten (転)': twist, where 転 can mean revolve, turn around, change
4. kekku (結句) is 'ketsu (結)': conclusion, though 結 can also mean result, consequence, outcome, effect, coming to fruition, bearing fruit, etc.

In a story, the following might happen:

1. Introduction (ki): an introduction to the characters, era, and other information required to understand the plot.
2. Development (shō): follows leads towards the twist in the story. No major changes so far.
3. Twist (ten): the story turns toward an unexpected development. This is the crux of the story, the yama (ヤマ) or climax. If the narrative takes several turns, this is the biggest one.
4. Conclusion (ketsu), also called ochi (落ち) or ending, wraps up the story.

The same pattern is used for arguments. For example, a discussion about the usage of photocopying machines could be analyzed as follows:^[5]

• Introduction (ki): Once, it was mandatory to copy information by hand. Mistakes were made that way.
• Development (shō): The invention of copying machines made it possible to make copies more quickly and accurately.
• Twist (ten): In a similar way, cars facilitate saving time when traveling, with the drawback of not being able to take in the local beauty. On the other hand, walking makes it easier to appreciate nature.
• Conclusion (ketsu): Although photocopying is easier, copying by hand can sometimes be better when it aids in retaining the information to use it later.

This structure can be used in yonkoma manga, and even for documents, dissertations, and music. Kishōtenketsu can apply to sentences, and even clauses, to chapter as well.

Examples

Original Japanese	English Translation
頼山陽 大阪本町糸屋の娘 姉は十六妹は十四 諸国諸大名は弓矢で殺す 糸屋の娘は眼で殺す	Sanyō Rai Ki Daughters of Itoya, in the Honmachi of Osaka. Shō The elder daughter is sixteen and the younger one is fourteen. Ten Throughout history, daimyō killed the enemy with bows and arrows. Ketsu The daughters of Itoya kill with their eyes.[6]

The concept has also been used in game design, particularly in Nintendo's video games, most notably Super Mario games such as Super Mario Galaxy (2007) and Super Mario 3D World (2013); their designers Shigeru Miyamoto and Koichi Hayashida are known to utilize this concept for their game designs.^[7]

See also

• Story structure
• Contrastive rhetoric
• Cross-cultural communication
• Jo-ha-kyū, contrasting 3-part structure
• Writing
• Yonkoma

References