1 Introduction

Introduced the Symbolist poet Paul Valeri and his representative work "The Young Goddess of Fate". The Fate Goddess "is a work created by Valeri after a 25 year hiatus, known for its obscure and symbolic style. French and international academia often study Val é ry from the perspective of the relationship between writers and works, focusing on the ways of understanding, epistemology, creativity, and symbolic meaning in his works. The research on Valerie in the domestic academic community is mostly focused on "The Narcissus Poem" and "Seaside Cemetery", with less research on "The Goddess of Fate". This study takes the "self" as a mirror to analyze the prototype of the goddess of destiny, which symbolizes the subject "I" in "The Goddess of Fate", the binary contradiction between "I" and "non I", and the poet's "pure self" tempered in introspection, aiming to grasp the philosophical purpose of Valery's theory of pure poetry.

The "I" in the image of the goddess of fate

Liang Zongdai depicted 'Goddess of Fate' as a young woman bitten by a snake under the starry sky and by the seaside, symbolizing strength, desire, and life. The "I" in the poem engages in dialogue with the underworld serpent, shadows, and sentient beings, blending three traditional Western female images: the goddess of fate, Eve, and the Virgin Mary. Valeri depicted the goddess of fate in his poem as the goddess in charge of destiny, who is both a collection of three goddesses and appears in a vague appearance. After being bitten by a venomous snake, she saw another version of herself and transformed into two personalities, calling herself the "wonderful goddesses of fate". She has an extraordinary will, cursing venomous snakes and displaying a noble and strong posture. However, she was not an omnipotent goddess, more like a half human half god, realizing that her physical body was about to die, her strength was lost, and she could not save herself or others. She could only call herself a "mortal" and let out a desperate sigh.

The "self" and "non self" in the dual contradiction worldview

Valeri explores the dual contradictory worldview of "self" and "non self" in "The Young Goddess of Fate", and presents the struggle and unity between self and non self through poetic form. Valeri's spiritual crisis began in 1892, when he expressed his painful struggle between self and non self in his diary. 25 years later, he transformed the narcissistic and self pitying Narcissus into a goddess of destiny seeking clarity and harmony in pain. The poetry adopts special forms such as pagination and italicization to create fragmented narratives, allowing the protagonist to oscillate between the two poles. The "I" in the poem represents reason and consciousness, while the "non self" is the opposite of desire and the body. The two alternate and ultimately reunite at the level of poetics and philosophy.

4 "Pure Poetry" and "Pure Myself"

Valeri's pure poetic system is based on an understanding of poetic emotions, aiming to create a poetic form that transcends everyday language, although this is an unattainable ideal. He seeks the "pure self" through pure poetry to calm his inner anxiety. Valeri defines' pure self 'as a male, absolute and unchanging entity with supreme self-awareness, spiritual freedom, and the ability to break free from contingency. In 'Goddess of Fate', the poet portrays the pursuit of autonomy, accuracy, eternity, and infinity through the representation of the female 'pure self'.

5 Conclusion

Valeri is a poet with a strong sense of self analysis, and the theme of his work "Goddess of Fate" is the introspection of consciousness. The poet transforms individual issues into eternal problems by rewriting the Western female image paradigm, while implying that the universe is a vast other and 'non self'. Valeri's self reflection consciousness had a enlightening effect on the development of Chinese new poetry in the early 1930s. Liang Zongdai was influenced by it and advocated the rhythm of new poetry, which was carried forward by the New Moon poets. Liang Zongdai combined Chinese classical thinking with Western pure poetry theory, transforming the Western binary transcendent pure poetry theory. In Valery's poetry, Liang Zongdai only translated "The Ballad of the Narcissus" and "The Fragmented Bottom of the Narcissus", which led to fewer Chinese scholars establishing connections between the two poets based on other poems. Exploring the expression of Valery's self-awareness and the spirit of the sun god in formal aesthetics can provide a new perspective for the study of Valery's poetic thought. Liang Zongdai's poetic and truth views tend to be more inclined towards a state of confusion and confusion, where all things return to the state of drunkenness and drunkenness. Comparing the philosophical attitudes of the two with Nietzsche's aesthetic theory can provide new value interpretations.