There is a belief found in ancient China that as soon as words are made on paper - a corresponding material reality is a) generated, and/or b) reinforced (in the case of pre-existing realities). This sense of 'importance', 'inevitability' and 'mystery' stems from writing (a rare art right up to the 20th century in China) being associated with the ancient divination process.
Indeed, the Chinese writing system evolved from the shamans 'interpreting' and 'reading' the cracks made in collected turtle plastron and ox scapulae by the application of a hot poker. This followed a question being subnitted by the 'King' - which was carried-up to the divine-sky by the smoke generated by the hot poker 'touching' the shell or bone - with the (returning) answer being assumed to be contained in the subsequent 'cracks' that appeared! Needless to say, a body of knowledge (and associated 'interpretative' symbols) was eventually established.
Up until 1949 only around 10% of the Chinese population was 'literate' (with 90% remaining permanently 'illiterate') - with the 'literacy' rate today being in the high 90% (with 'illiteracy' remaining mostly amongst the very old or the cognitively disabled, etc) - but the cultural attitude toward the importance of 'words' still persists. Therefore, the naming of a martial art within Chinese-influenced cultures is rarely a trivial matter, and I suspect Miyagi Chojun had been thinking about - (and discussing this issue) - far more extensively (and in depth) than the usual 'naming' stories would suggest and imply.
When Miyagi Chojun chose the two traditional Chinese ideograms of '剛' (Go - Gang) and '柔' (Ju - Rou) he was achieving two objectives:
1) He was generating order in the material environment by 'confirming' the existential presence of his martial art. The art exists because the name exists - and vice versa. Within ancient China it was believed that by compiling lists of 'things' and 'objects' (including 'names') - a corresponding order was being constructed and reinforced in the material environment. An 'order' that cannot be questioned.
2) Miyagi Chojun was stamping his authority upon the art he had been taught and entrusted with by his teacher Higaonna Kanryo - projecting this order 'backwards' into history - all the way back through time (and associated 'lineage') to the 'root' of the art in Southern China. In other words, Miyagi Chojun was confirming the transmission and his receiving of the transmission - whilst proving he is worthy of it! He is placing his family's clan banner firmly in the ground, making a statement of authority and authenticity, and daring anyone to challenge him - which, of course - no one was stupid enough to do!
In this case, the martial art defined as 'Go' and 'Ju' had previously existed (in one form or another) - but now had reached a level of technical sophistication (and stabilization) so that the profound physical-psychological principles of 'Go' and 'Ju' (containing the corresponding meanings you ascribe) could now be considered fully established and developed!
Miyagi Chojun Also 'Invented; the 'Upper-Block'!
This is the only Karate-Do video that came up through the above search ('Jinsei Kamiya Karate-Do') - and explains why I have seen Goju Ryu Kata practiced in these Shorin Ryu derived Styles:
There is a very interesting Chinese language 'Description' regarding Karate-Do history affixed to the foot of this video which reads:
'In 1940, the Governor of Okinawa Prefecture - Mr. Moto Hayakawa (早川元) - convened a Special Karate-Do Consultative Committee comprising of:
Miyagi Chojun (宫城长顺)
Kamiya Jinsei (神谷仁清)
Jinan Shinzato (新里仁安)
Tokuda Yasuharu (徳田安文)
Kinjo Kanemori (金城兼盛)
Nagamine Masamune (长岭将真)
The remit given to this group of Karate-Do experts was to design a series of sport-like (combat) exercises that could be easily taught and passed-on in schools. The format involved the development of a 'popular' form of defence and offence (presented as a form of competitive sand disciplined 'Play' suitable for children of all ages). This project was comprised of the martial arts knowledge contained within all Karate-Do traditions. The primary objective wad to introduce the Basic Concepts of Karate-Do to beginners with no previous experience - so that a simple entry-point (suitable for general Physical Education in all Okinawan schools) progressed to a more complex level as the age groups of the children progressed. Mr. Nagamine Masamune (长岭将真) - the founder of the Matsubayashi Ryu Style of Karate-Do - developed the 'Universal Kata' Number 1 - Ho Kyu Dai-Ichi (普及第一) - featured above - as a means to fulfil this criterion. Miyagi Chojun contributed his pre-existing 'Gekisai Daichi' [击碎第一] (Hit & Smash Number 1) Kata (originally developed in 1937 for teaching in High Schools) which was introduced into Infant and Junior Schools in 1940 as 'Universal Kata' Number 2 - Ho Kyu Dai-Ni (普及第二).Within the Karate-Do Style of Kobayashi Ryu today - these Katas are presevered and still taught in the original format introduced into Okinawan Schools during 1940.'
'1940年，沖縄県知事 早川元 先生 召集了宫城长顺、神谷仁清、新里仁安、徳田安文、金城兼盛、长岭将真 等人组成了空手道特别委员会，设计一系列能在学校体育课上教授，并且跨流派的 “普及形”。此系列形的主要功能是介绍空手道的基本理念给初学者，因此它必须简单到可以作为学校体育课的一部分。长岭将真先生 (松林流开祖) 创立了普及型第一，此形如今成为松林流课程的一部分；宫城长顺先生 创立了普及型第二，它也就是如今刚柔流课程中的击碎第一。普及第一与普及第二也在冲绳小林流的教学课程里保存着。'
Shifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System.