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The image of the rotating spiral or vortex keeps attention both centered and dynamic: there is circular movement around a stable center at each level of the spiral as well as vertical movement between circular levels. The sense of the couple temporarily losing their separate identities is conveyed by the use of “they”: “And they lay, and knew nothing, not even of each other, both lost” (134). These conclude the solemn, mysterious, more rigidly ordered phase of the reader’s initiation. In line with the oscillating pattern of surrender and recoil, the fifth intercourse involves a recoil from the fourth coupling, and the language of sarcasm dominates: “her spirit stiffened in resistance .
Thus, as she walks to Wragby Hall after experiencing their third erotic exchange, the narrator reveals her numinous feelings and thoughts:“Connie went slowly home, realising the depth of the other thing in her. Another self was alive in her. . And with this self she adored him” (135). And back at Wragby, she feels “gone in her own soft rapture” (138). In some instances, Mellors responds to her remarks and either validates or revises her interpretations of the sexual encounters. Thus, after their fourth encounter, he comments on the rarity of simultaneous orgasms and assures her that full involvement is not always necessary: “Well, dunna fret!
She experiences the Wragby household as “spectral” and the wood as “like the simulacrum of reality” (18). The oak leaves appear as if “seen ruffling in a mirror,” and she appears to herself as “a figure somebody had read about” (18). Like Tennyson’s Lady of Shallott, she experiences self and surroundings at a distance, mirrored in mind, cut off from a felt sense of reality. This ocularcentrism is associated with past- and word-centered experience: the primroses seem “only shadows or memories, or words” (18).