Abstract
The enigmatic structure, or more precisely the seemingly disordered arrangement of poems, of D.H. Lawrence's Birds, Beasts and Flowers is discussed in close reference to his black-and-white sketches, originally intended for the cover page for publication and apparently abandoned later. The poet's inclination toward ancient Greek philosophical views is closely examined: his placing figs at the base of the hierarchical tree as a symbol of the life-generating forces inherent inside the femininity, together with his view on the hierarchy of life with the rose at the crest of the Lawrencian Tree of Life. It was shown that the poem "The Figs" typically and symbolically shows his world view, unfortunately quite alien to the Christian thinking, which he had probably and secretly rejected in an early period of his life. The present author finds it quite noteworthy that such a bizarre combination of D.H. Lawrence and Empedokles really produced an outstandingly unique view on the world, crystallising into his version of Tree of Life.
