The flower grows in spring in moist places: that attaches to the symbolism of water and seasonal rhythms and therefore fertility. Which means its ambivalence: death-sleep-renaissance.

This flower reminds the fall of narcissus in the water where it is reflected with complacency: there is that we did, the emblem of the vanity, egocentricity, of love and of self-satisfaction itself.

Philosophers (Louis Lavelle, Gaston Bachelard), poets (Paul Valéry) have extensively studied this myth, usually interpreted a bit simple. The water serves as a mirror, but open on the depths of my mirror: the reflection of me that we look betrays a tendency to idealization.

Before the water which reflects his image, Narcissus feels her beauty continues, it is not complete, it must be complete. Mirrors glasses in the bright light of the room, give a too stable image. They become living and natural when we can compare to a lively and natural water, when imagination renaturalized will receive participation shows the source of the river (BACE, 35).

G. Bachelard emphasizes the role of idealizing narcissus. This seems all the more necessary, he wrote, that classical psychoanalysis seems to underestimate the role of this idealization. In fact, narcissism is not always névrosant. It also plays a positive role in the aesthetic work (among others) ... Sublimation is not always the negation of a desire, it does not always present itself as a sublimation of instincts against. It can be ideal for sublimation (BACE, 34-35). This idealization binds to a hope of such fragility that fades to lighter breath :