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.
This speculation may be supported by the double-marriage structure of Aaron's Rod where Lottie in the failed marriage and Tanny in its somewhat more successful counterpart are not "sisters" as are the "women in love," Ursula and Gudrun, not even figures in their own right, since they are both seen only through the eyes of their husbands.
Mawr, to the hysteria of war-neurosis reflected in Aaron's Rod, as presented by John Turner.
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.
Comellini discusses Lawrence's Utopian themes in Aaron's Rod and, especially, in The Man Who Died.
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.
Hyde astutely notes how the flowering staff evokes at once the vegetative rites of the pagan "wild man" and Aaron's rod, itself a prefiguration of Christ and his ecclesiastical staff.
Unhappily, although well-intentioned, it is often woolly in its definition of terms and repetitive in argument and offers little more than a simple explication of Women in Love, Aaron's Rod, Kangaroo, and The Plumed Serpent which adds little to previous critical studies of these works.
L'itineraire d'un prophete en fuite ou Le texte biblique et la reflexion politique dans Aaron's Rod, Kangaroo et The Plumed Serpent.
She argues that Lawrence deals allegorically with the ethics of expatriation in Aaron's Rod and The Lost Girl so that the work of redefining the self requires characters getting lost in unfamiliar terrain.