SYMBOLISM OF THE NEW LIGHT
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the darkness of the world of Yin, making the night seem as day, and lighting the temple votive lamps with a new, life-bringing fire,
Saso's interpretation clarifies several important aspects of the ritual but is also confusing in some instances. The ritual chanting of the forty-second chapter of the Tao-Te ching appears to be an adaptation that does not truly illustrate the nature of the ritual: it does not merely allude to the "protogenesis of the myriad creatures" but is here interpreted as and applied to the proceeding of the original Triad of Taoism: three lamps are lit to symbolize and to honor the successive forthcomings of the Three Primordial Worthies: they are the projections of the creative powers of the universe. The emphasis is not on the creation process but on the origin of the creators. The new light, lit from one flame but used to light three candles in succession, vividly symbolizes the successive births of the three primordial "breaths".
Therefore, from a phenomenological viewpoint, there is a kind of discrepancy between the text of the ritual (expressing the forthcoming of the Three Primordial Worthies) and the ritual action itself, which points to the creation of light. This may be an indication of a non-Taoist origin of the ritual act itself.
The possibility of a non-Taoist but Chinese origin of the fen-teng is suggested by J. J. M. de Groot in his Fêtes Annuellement Célébrées,12 He refers to a custom widely spread among various sun-worshipping civilizations of extinguishing their 'sacred fires' especially before the spring equinox and of relighting them soon after the equinox: this symbolizes the sun's victory over darkness. Examples are given from ancient Rome, Syria, Persia, Egypt, and Greece. The custom also existed in ancient China, at least in the North. The original custom in China was to renew the fire in all the four seasons, but since the Han times, it was done only once a year in spring. De Groot refers to a text in the Chou Li ♬ which explains this ritual act13: with the help of a mirror, fire is taken directly from the sun to light the sacrificial candles. The date of this spring renewal of fire was the 105th day after the winter solstice: this would correspond with the fourth day of the fifth month. On the other hand, the relighting of the fires took place on the third day of 'cold food' called ch'ing-ming in Amoy: that also coincides with the 4th or 5th of the fourth month. In other
SYMBOLISM OF THE NEW LIGHT
97
the darkness of the world of Yin, making the night seem as day, and lighting the temple votive lamps with a new, life-bringing fire,"
Saso's interpretation clarifies several important aspects of the ritual but is also confusing in some instances. The ritual chanting of the forty-second chapter of the Tao-Te ching appears to be an adaptation that does not truly illustrate the nature of the ritual: it does not merely allude to the "protogenesis of the myriad creatures” but is here interpreted as and applied to the proceeding of the ori- ginal Triad of Taoism: three lamps are lit to symbolize and to honor the successive forthcomings of the Three Primordial Wor- thies: they are the projections of the creative powers of the universe. The emphasis is not on the creation process but on the origin of the creators. The new light, lit from one flame but used to light three candles in succession, vividly symbolizes the successive births of the three primordial "breaths".
Therefore from a phenomenological viewpoint, there is a kind of discrepancy between the text of the ritual (expressing the forth- coming of the Three Primordial Worthies) and the ritual action itself, which points to the creation of light. This may be an indica- tion of a non-Taoist origin of the ritual act itself.
The possibility of a non-Taoist but Chinese origin of the fen- teng is suggested by J. J. M. de Groot in his Fêtes Annuellement Célébrées,12 He refers to a custom widely spread among various sun-worshipping civilizations of extinguishing their ‘sacred fires' especially before the spring equinox and of relighting them soon after the equinox: this symbolizes the sun's victory over darkness. Examples are given from ancient Rome, Syria, Persia, Egypt and Greece. The custom also existed in ancient China, at least in the North. The original custom in China was to renew the fire in all the four seasons, but since the Han times, it was done only once a year in spring. De Groot refers to a text in the Chou Li ♬ which explains this ritual act13: with the help of a mirror, fire is taken directly from the sun to light the sacrificial candles. The date of this spring renewal of fire was the 105th day after the winter solstice: this would correspond with the fourth day of the fifth month. On the other hand, the relighting of the fires took place on the third day of 'cold food' called ch'ing-ming in Amoy: that also coincides with the 4th or 5th of the fourth month. In other
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