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She refuses to be invaded by the torpor of the mental-lifers who surround her at Wragby.Gradually, more and more consciously, she is led to journey towards an interiority which implies a passing of borderlines, both psychological and ethical.
Connie feels isolated; the vaunted intellectuals prove empty and bloodless, and she resorts to a brief and dissatisfying affair with a visiting playwright, Michaelis.
She does not her body any longer, whereas she should discover her own self in “the mysterious maze of the body.” A sense of lack is inscribed in her life just as it is inscribed in her body, a revelation which spurs her to go to the wood as often as possible.
From one visit to another, the connection with the wood becomes stronger and her powers of perception increase when she is among the trees and she progresses through the clearing towards the hut as if she were performing a sacred journey.
She then becomes for the reader “an intense human personage that breaks through time,” for “perception is never complete […] the world exceeds our perspective of it.
Perception is a synthesis of “horizons” that produces an experience exceeding the world.” Leaving Wragby where “Time went on as the clock does,” she forgets time when she enters into Mellors’ territory: “so she sat in the doorway of the hut in a dream, utterly unaware of time and of particular circumstances” (113).