This term originally referred to the general layout of a building.
Later, it came to mean the overall framework and plot development of a
piece of work of art and literature. In theories about calligraphy, it
refers to both the structure of an individual character and the rules
and layout of an entire calligraphic work. Strokes of varying lengths
and widths, as well as their upward or downward tilts, determine the
shape of a character. Therefore, structure is essential to creating a
piece of calligraphic art. In theories about poetry and prose writing,
it refers to elements of poetic composition such as introduction, the
unfolding of a process, transition to another viewpoint and summing up;
it is also used to evaluate the structural merits or demerits of an
essay. In theories about fiction and drama, this term is used even more
widely. Late Ming to early Qing drama theorist Li Yu observed in his
Occasional Notes with Leisure Motions that structure was like forming a
concrete creature – one needs to set up a frame and give it flesh and
blood until its facial features and body finally take shape. It was also
like building a house – a builder should first of all create a general
layout in mind; he was not supposed to change the design in the course
of house construction. Li Yu's theory about structure included items
such as a focus on the main characters and events, abandonment of
stereotypes in creating a drama, coherence between parts of a drama and
elimination of nonessentials. It emphasized the idea that drama was an
art of overall designing. Structure is the most suitable term to explain
how parts should be combined into an integral whole
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Kailyn