Full context:   The Kaushîtaki Upanishad of India (ca. 600-400 B.C.) puts side by side two series of situations, each one formed from four pairings that illustrate the coincidence of human and divine possibilities. On the divine level, there coexist "he who is in the sun" and "he who is in the moon," and those who reside "in the moonlight" and "in the thunder," "in the wind" and "in space," "in fire" and "in water." These eight stations correspond at the individual level to a new series of four polar pairings: respectively, those who are "in the mirror" and "in the shadow," "in the echo" and "in the sound," "in dream" and "in the body," "in the right eye" and "in the left eye."   Elsewhere the solar symbolism of the wheel is attested far back in Vedic writings and in the Brâhmanas. It is also to be found in architecture: the eight directions, represented by the wheel of the temple of Konarak (near Puri), dedicated to the sun god Sûrya, symbolize the eight solar rays.   In the kemari (the Japanese ball game of the 7th century A.D., but known in China from the 2nd century B.C.), eight players occupy the eight spatial directions and pass among themselves a ball that symbolizes the Sun.