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인문학 일반 역사학 철학 종교학 어문학 기타 인문학
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자연과학
자연과학 일반 물리학 생물학 생활과학 수학·통계학 천문학 지구과학 화학 기타 자연과학
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공학 일반 건축공학 기계공학 산업공학 재료·에너지공학 전기전자공학 조선해양공학 화학공학 컴퓨터학 기타공학
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복합학
학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
중국어문연구회 중국어문논총 중국어문논총 제87호
발행연도
2018.1
수록면
99 - 124 (26page)

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초록· 키워드

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The dictionary usually defines five- and seven-character poetry as ‘poems with five or seven characters in one line’. Therefore, a poem with four or six characters in one line can also be created. In the case of four- and six-character poetry, however the extent of creative achievement and interest by literati is much smaller than that of the five- and seven-character poetry. The advantage of four-character poetry is the ‘homogeneity of rhythms’, which gives it a sense of psychological stability when read, but in the other side, monotony is the biggest drawback for readers. Despite the addition of only one character to four-character poetry, five-character poetry is not only able to achieve the effect of rhyme in the last character, but also can convey the meaning smoothly in five characters, and so five-character poetry gradually replaced four-character poetry. Because of the influence of foreign music and the role of Music Bureau (樂府), five-character poetry became one of the most popular political poems among writers around the second century in ancient China. Meanwhile, unlike five-character poetry, which is characterized by its elegance, seven-character poetry is characterized by its splendor. Behind the splendor of seven-character poetry, however, there are the risk factors that are determined by how to control the two additional characters. Therefore, unlike five-character poetry, seven-character poetry had to undergo trial and error for a long time, and unlike five-character poetry, seven-character poetry was not able to grow immediately as the mainstream of the literary circles, even though it was created at a similar time as five-character poetry. Because the literati paid no particular attention to seven-character poetry which contained strong shamanism, and the influence of foreign music was not as strong as for five-character poetry, the appeal of seven-character poetry was relatively weak. Considering the format in which odd characters are placed in a row, the two types of Chinese classical poetry may be more likely to lean on the odd number of words, but our analysis of the overall delivery of meaning and rhythm revealed that the two types can be regarded as the embodiment of harmony between odd and even. In addition, we determined that the regular type of Chinese ancient poetry was completed by pairing system in both five- and seven-character poetry.

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