Chopin Yin and Yang Preludes

I consider the E minor and B minor preludes to be like Chopin's Yin and Yang within his Preludes, kind of like how Beethoven's Fifth and Sixth symphonies also form a Yin and Yang. They are opposite in almost every way I can think of, and yet they are based around the same thing, pedal points. It's like one is the mirror of the other, literally.

Yin: E minor Prelude

This is what I notice in it:

• Bass is in the Left Hand and Melody is in the Right Hand
• Left Hand is Chromatic and Right Hand is mostly Diatonic
• Tempo is on the slower side
• Chromatic progression(which all of Chopin's Preludes have that chromatic vs diatonic contrast in them) always wants to go down, like a bottomless pit, when Chopin makes it rise, it's like a person hitting a ledge, it breaks the fall, but doesn't really bring it back up
• Melody is very Minimalistic
• Melody wants to go down
• Pedal point in the Left Hand
• Chords start in first inversion

All of these things are opposite in the B minor Prelude except the last one.

Yang: B minor Prelude

This is what I notice in the B minor Prelude:

• Bass is in the Right Hand and Melody is in the Left Hand
• Right Hand is Chromatic and Left Hand is mostly Diatonic
• Tempo is on the faster side
• Chromatic progression always wants to go up, like a balloon rising in the sky
• Melody is not Minimalistic at all
• Melody wants to go up
• Pedal point in the Right Hand
• Chords start in first inversion

It's like Chopin mirrored the E minor Prelude in almost every way and got the B minor Prelude. I'm sure that's not what Chopin was thinking, the mirroring, but it is what resulted.