小說第12章篇首，勞倫斯描寫了初夏時的山林景象：
“午飯後，康妮直接去了林子。這真是可愛的一天，第一波蒲公英開著太陽似的花，第一波雛菊是那麽的白。榛樹叢半開的葉子和最後一波塵土色垂直的柔荑花絮，是一幅蕾絲作品。黃色的小白屈菜紮著堆兒，平平地張開，緊迫地往回壓，閃爍著黃色的光芒。這種黃色，是初夏的有力的黃色。報春花盛開，褪去了蒼白，濃密大叢的報春花不再害羞。深綠色的風信子鬱鬱蔥蔥，如一片蒼海，向上舉著淡玉米般的花蕾。跑馬道上，勿忘我亂蓬蓬長著，耬鬥菜展開墨紫色的褶飾，灌木叢下還有一些藍鳥的蛋殼。處處都是蕾芽和生命的飛躍。
守林人不在小屋裏。一切是那麽寧靜，棕色的小雞肆意奔跑著。康妮走向小屋，因為她要去會他。
小屋在陽光下，在樹林的邊緣。小花園裏，重瓣的水仙花叢簇擁著，靠近敞開的門，紅色的複瓣雛菊長在小徑的邊界。一聲犬吠，弗洛西跑了過來。”
（Connie went to the wood directly after lunch. It was really a lovely day, the first dandelions making suns, the first daisies so white. The hazel thicket was a lace-work, of half-open leaves, and the last dusty perpendicular of the catkins. Yellow celandines now were in crowds, flat open, pressed back in urgency, and the yellow glitter of themselves. It was the yellow, the powerful yellow of early summer. And primroses were broad, and full of pale abandon, thick-clustered primroses no longer shy. The lush, dark green of hyacinths was a sea, with buds rising like pale corn, while in the riding the forget-me-nots were fluffing up, and columbines were unfolding their ink-purple ruches, and there were bits of blue bird's eggshell under a bush. Everywhere the bud-knots and the leap of life!
The keeper was not at the hut. Everything was serene, brown chickens running lustily. Connie walked on towards the cottage, because she wanted to find him.
The cottage stood in the sun, off the wood's edge. In the little garden the double daffodils rose in tufts, near the wide-open door, and red double daisies made a border to the path. There was the bark of a dog, and Flossie came running.)
這初夏的樹林，各種野花盛放，不再害羞的報春花象征著康妮飽滿澎湃的情欲。她的心已經在森林裏，要去找那個如潘神般存在的男人，來滿足自己的生理需要。
（白雛菊）
（複瓣紅雛菊）
（報春花）
（小白屈菜）
（耬鬥菜）
（榛樹的柔荑花）
（葡萄風信子）
康妮與梅勒斯私會的那片山林，又被勞倫斯打造成了一片被現代工業文明包圍的伊甸園。
小說第13章，康妮和克利福德去林子裏散步。作者是這樣描畫晚春（或初夏）的山林的：
“在他們的前麵展開著一條跑馬道，兩旁是榛樹和美麗的灰色樹木。輪椅緩緩地喘著粗氣前進，在榛樹的陰影上立著勿忘我，像牛奶泡沫似的，輪椅從上麵經過。克利福德在路中心駕著輪椅，那隻輪椅腳在花叢中經過，踩踏成一條小徑。走在後麵的康妮看著輪子碾過香車葉草和筋骨草，把金錢草的黃色花杯壓碎。現在，這輪子喚醒了勿忘我花。
所有的花都在那裏，藍色水池裏的第一波藍鈴花，像一潭死水。
‘你說的很對，這兒很美，’克利福德說：‘這太神奇了。有什麽東西和英國的春天一樣可愛！’
康妮想，他這話說的像春天的花開都是由議院來決定的。英國的春天！為什麽不是愛爾蘭的春天？或猶太人的春天？輪椅緩慢向前移動，經過一叢叢結實的像小麥一樣站立起來的藍鈴花，壓在牛蒡的灰色葉子上。當他們來到樹木被伐光了的空曠地時，炫目的光線直射他們。滿地鮮藍的藍鈴花，間雜著淡紫色和紫色。在這之間，蕨菜抬起了卷曲的棕色頭，就像一群小蛇，向夏娃竊竊私語一個新的秘密。
克利福德駕著輪椅，來到了小山頂上。康妮慢慢地跟在後麵。橡樹褐色的芽兒柔軟地展開著，一切事物都從舊的粗糙中解脫出來，即使是彎曲嶙峋的橡樹也發出了最柔軟的幼葉，伸展著纖細的褐色的小枝翅，就像是陽光下的小蝙蝠的翅膀。為什麽人類的身子裏從來沒有什麽新鮮事物，使他們重返青春？迂腐的人類！”
（In front of them ran the open cleft of the riding, between the hazel walls and the gay grey trees. The chair puffed slowly on, slowly surging into the forget-me-nots that rose up in the drive like milk froth, beyond the hazel shadows. Clifford steered the middle course, where feet passing had kept a channel through the flowers. But Connie, walking behind, had watched the wheels jolt over the wood-ruff and the bugle, and squash the little yellow cups of the creeping-jenny. Now they made a wake through the forget-me-nots.
All the flowers were there, the first bluebells in blue pools, like standing water.
"You are quite right about its being beautiful," said Clifford. "It is so amazingly. What is quite so lovely as an English spring!"
Connie thought it sounded as if even the spring bloomed by act of Parliament. An English spring! Why not an Irish one? or Jewish? The chair moved slowly ahead, past tufts of sturdy bluebells that stood up like wheat and over grey burdock leaves. When they came to the open place where the trees had been felled, the light flooded in rather stark. And the bluebells made sheets of bright blue colour, here and there, sheering off into lilac and purple. And between, the bracken was lifting its brown curled heads, like legions of young snakes with a new secret to whisper to Eve.
Clifford kept the chair going till he came to the brow of the hill; Connie followed slowly behind. The oak-buds were opening soft and brown. Everything came tenderly out of the old hardness. Even the snaggy craggy oak-trees put out the softest young leaves, spreading thin, brown little wings like young bat-wings in the light. Why had men never any newness in them, any freshness to come forth with! Stale men!）
藍鈴花在歐洲古老的森林裏很常見，每年四月底五月初，一片片藍色的花開成了地毯。勞倫斯把數量如此之巨的藍鈴花形容為“藍色水池”。他把蕨菜棕色的嫩芽頭比作一群準備向夏娃傾吐秘密的小蛇，明顯是受到聖經的《創世紀》篇的影響。而克利福德的輪椅象征著醜陋無情的工業文明，毫不留情地踐踏著這個美好的伊甸園。
（勿忘我）
(藍鈴花）
（金錢草）
（筋骨草）
（牛蒡）
（蕨菜的嫩芽）
（香車葉草）
（英國橡樹的嫩芽）
第15章，臨去威尼斯前，康妮到林中小屋與梅勒斯會麵。梅勒斯對康妮說：“所有現代的人都有一個樂趣，想把人類古老的人性情感都滅掉，把老亞當和老夏娃剁成肉醬。”（All the modern lot get their real kick out of killing the old human feeling out of man, making mincemeat of the old Adam and the old Eve.）— 他在形容現代文明對大自然的威脅時，把自己暫時避居的山林比作了伊甸園。
天色暗了下來，外麵下起了暴雨，雷聲轟響，康妮覺得呆在小屋裏的他倆“仿佛是在洪水中的小方舟裏”（It was like being in a little ark in the Flood.）。雨停了，梅勒斯離開小屋，從林子裏采了一些植物回來，包括耬鬥菜（columbines）、麥瓶草（campions）、新割的幹草、橡樹枝葉（oak-tufts）、打蕾的忍冬花（honeysuckle in small bud）等。這一對赤裸著身子的男女，用這些野花以及之前采來的勿忘我、藍鈴花和粉色麥瓶草（pink campion ）等，來互相裝飾對方的身體。文學評論家們認為，這段描寫顯然受了英國詩人米爾頓（1608-1674）的啟發。他的長詩《失樂園》裏有一個情景：當夏娃拿著禁果回來與亞當分享時，亞當正在伊甸園裏為她編織花環。
（粉色麥瓶草）
（橡樹枝葉）
（忍冬花）
亞當和夏娃因偷吃禁果被逐出了伊甸園。而現代人為了躲避工業文明的侵蝕，不得不暫時重返“伊甸園”。如此輪回，是否為一種莫大的諷刺？
