ow; and of
the moon, white. It is thus evident that the cult of heaven and earth is
indissolubly linked to that of the Yang and Yin, the male and the female
principle, and that in China the following chains of association
concerning duality were formed:

Zenith. Nadir.
Above. Below.
Tien=Heaven. Tec=Earth.
Father. Mother.
Yang. Yin.
Color: Azure. Yellow.
Emblem: Sun. Moon.
East=place of West, place of
rising. setting.
Light. Darkness.
Day. Night.
Personification: the The Earth-Mother.
Shang-ti=
Emperor=Above, The The Empress=Below?
Lord of Heaven or
Universe.
Earthly The Empress? or
representative: the Sombre Emperor?
Light Emperor.

An interesting addition to this dual list is the view of a modern
Chinaman, that the Yang and Yin principles refer to positive and negative
electricity! (Legge). A striking result of the association of woman with
the nadir and earth is the fact that in Thibet, according to Rockhill,
woman is designated as Smanba or Manba: "low creature."

THE MIDDLE AND FOUR QUARTERS.

It is well known that the Chinese designate their empire as the "Middle
Kingdom." Another native name for China is "Chung-ho-a," which I find
translated as "the Flower of the Middle." The empire is likewise
designated as "the Four Seas"=ssu-hai and "the Four Mountains," and it was
actually divided by the emperor Yaou or Yao (B.C. 2357) into four
provinces converging at the capital, the central enclosure of which was
considered as the centre of heaven and earth. It is extremely significant
that, in this central enclosure there is a temple, consecrated to the god
of the north star=The Imperial Ruler of Heaven, whereas altars only are
dedicated to the sun and moon respectively. The existence in the central
enclosure, or the "Carnation prohibited city," of the Temple of Earth's
Repose, reveals that the idea of stability was associated with this
terrestrial centre. The fact that the Empress and the female portion of
the Imperial family resided in the "Palace of Earth's Repose" affords an
explanation of the possible origin of deforming the feet of noble women,
this being a means of enforcing comparative repose upon them, in keeping
with the symbolism of their surroundings.

The most striking structure in this sacred enclosure is "an artificial
m