Aaron's rod


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Aaron's rod

[′ar·ənz ′räd]
(architecture)
A decorative rounded molding on which are entwined a single serpent and sometimes vines and leaves.

Aaron’s rod

An ornament or molding consisting of a straight rod from which pointed leaves or scroll work emerge on either side, at regular intervals.
References in periodicals archive ?
In contrast to the pairing of given-named and surnamed characters in Women in Love, the pairing in Aaron's Rod more fully complicates the issues Lawrence was working out in the earlier novel.
Mawr, to the hysteria of war-neurosis reflected in Aaron's Rod, as presented by John Turner.
John Turner's valuable piece on Aaron's Rod begins with a discussion of the apparent 'disparity between Lawrence's sense of his own work and its usual critical reception' (70) and goes on to examine the complex comic unity of the novel, arguing that it reveals not only acutely observed social comedy but, at a deeper level, is a powerful analysis of hysteria in the aftermath of the Great War.
As Dryden would have it, Dominic fails to be blessed with the magic of "Aaron's rod," for the Epilogue to The Spanish Friar denies his potency and foreshadows his "unmanning":
The highlight of this chapter, along with a brief but illuminating reading of symbolism in Aaron's Rod, is Comellini's appreciation of Etruscan Places.
The Ark contained three items: the tablets of stone that Moses had delivered to the people from Sinai, a jar of manna from the wilderness years of wandering, and Aaron's rod which budded.
After the war Lawrence went to Italy, where he produced a group of novels consisting of The Lost Girl (1920), Aaron's Rod (1922), and the uncompleted Mr.
In "Modernism's Fourth Dimension in Aaron's Rod," Kumiko Hiroshi notes Lawrence's gratitude to Einstein for "knocking that external axis out of the universe," a universe which is really "a cloud of bees flying and veering around," and she suggests that Aaron's continuous quick movements and the "multiple perspectives" they produce reflect the spatial fourth dimension.
In discussing this intervention Michelucci lays special emphasis on The Lost Girl and Aaron's Rod as transition points, even though they are minor novels.
Lawrence's Aaron's Rod it helps to have a knowledge of the author's personal enmities, and to understand Aldous Huxley's Point Counter Point fully one should know, for instance, that the character of Mark Rampion represents D.H.
Focusing on the post-war novels, Aaron's Rod is dismissed as ~a bitterly disappointing introduction to the cult of male superiority' (121) where ~for the first time in Lawrence's fiction love is most definitely brought on the defensive' (122), an astounding statement which appears to ignore almost everything between The White Peacock and the fiction of 1921.
Krockel looks at all of Lawrence's novels in chapter-length analyses, except for Lady Chatterley's Lover, which merits only a relatively brief conclusion, and Aaron's Rod and Kangaroo, which share a chapter.