Aaron's rod

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Synonyms for Aaron's rod

tall-stalked very woolly mullein with densely packed yellow flowers

References in periodicals archive ?
Aaron's Rod focuses on men without women, or more specifically men who want to live outside relationships with women.
Kinkead-Weekes acknowledges a bisexuality in Lawrence, but steadfastly denies actual homosexuality, thus cutting off exploration of problematic elements within Lawrence: the strong evocation of homosexual feeling in, for instance, The White Peacock, Aaron's Rod, and The Plumed Serpent, not to mention the 'strange, unacknowledged, inflammable intimacy' between Gerald and Birkin in the suppressed prologue to Women in Love.
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.
Lawrence's three lengthy stays in Italy (1912-14, 1919-22, 1925-29) are detailed in his Italian travel books Twilight in Italy (1916), Sea and Sardinia (1921) and Etruscan Places (1932), as well as in his novels The Lost Girl and Aaron's Rod.
Whereas Aaron's rod struck down whole nations, Friar Dominic's assault on Gomez's house merely mimics the blustering wind, strong enough to raise a huff but lacking the force even to open a door.
Lawrence, who in Aaron's Rod (1922) advocated "a proper and healthy and energetic slavery," in 1908 had written presciently, "If I had my way, I would build a lethal chamber as big as the Crystal Palace, with a military band playing softly.
Mawr, to offer 'a satirical gloss' on some of Lawrence's poems, to function as 'a revisionist, intertextual play on Women in Love', and also to make critical reference to Aaron's Rod and Kangaroo.
Deleuze and Guattari focus on Aaron's Rod as an illustration of their view of a schizophrenic universe of atomized "reproductive desiring-machines" that ultimately repudiates woman, family, and society.
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.
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.