Aaron's Rod [Hardcover]

D. H. Lawrence (Author)

Book Description

Publication Date: February 2003

Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER III It is remarkable how many odd or extraordinary people there are in England. We hear continual complaints of the stodgy dullness of the English. It would be quite as just to complain of their freakish, unusual characters. Only en masse the metal is all Britannia. In an ugly little mining town we find the odd ones just as distinct as anywhere else. Only it happens that dull people invariably meet dull people, and odd individuals always come across odd individuals, no matter where they may be. So that to each kind society seems all of a piece. At one end of the dark tree-covered Shottle Lane stood the "Royal Oak" public house; and Mrs. Houseley was certainly an odd woman. At the other end of the lane was Shottle House, where the Bricknells lived; the Bricknells were odd, also. Alfred Bricknell, the old man, was one of the partners in the Colliery firm. His English was incorrect, his accent, broad Derbyshire, and he was not a gentleman in the snobbish sense of the word. Yet he was well-to-do, and very stuck-up. His wife was dead. Shottle House stood two hundred yards beyond New Brunswick Colliery. The colliery was imbedded in a plantation, whence its burning pit-hill glowed, fumed, and stank sulphur in the nostrils of the Bricknells. Even war-time efforts had not put out this refuse fire. Apart from this, Shottle House was a pleasant square house, rather old, with shrubberies and lawns. It ended the lane in a dead end. Only a field-path trekked away to the left. On this particular Christmas Eve Alfred Bricknell had only two of his children at home. Of the others, one daughter was unhappily married, and away in India weeping herself thinner;another was nursing her babies in Streatham. Jim, the hope of the house, and Julia, now married to Robert Cunningham, ha...

--This text refers to the Paperback edition.

Editorial Reviews

From Library Journal

Lawrence's 1921 novel of protagonist Aaron Sisson also depicts the decline of civilization following World War I. The original manuscript was heavily edited to meet the morals of the time, but this edition restores the text to its pristine condition. It also includes a scholarly introduction and notes by Scottish lecturer Steven Vine.
Copyright 1996 Reed Business Information, Inc. --This text refers to the Paperback edition.

Review

Novel by D.H. Lawrence, published in 1922. Lawrence constructed a parallel between the power that was miraculously manifested in the blossoming rod wielded by the biblical figure Aaron and the effect of the flute played by the protagonist of the novel, Aaron Sisson. Sisson is an amateur flutist who works in a coal mine. He abandons his wife and the life he has known to travel and seek new adventures, making his living as a flutist. While he is in Florence, Italy, his flute is shattered during political riots. -- The Merriam-Webster Encyclopedia of Literature --This text refers to an out of print or unavailable edition of this title.

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Product Details

• Hardcover: 348 pages
• Publisher: IndyPublish.com (February 2003)
• Language: English
• ISBN-10: 1404342605
• ISBN-13: 978-1404342606
• Product Dimensions: 9 x 6 x 0.8 inches
• Shipping Weight: 1.4 pounds (View shipping rates and policies)
• Average Customer Review: 3.2 out of 5 stars  See all reviews (6 customer reviews)
• Amazon Best Sellers Rank: #10,738,554 in Books (See Top 100 in Books)

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7 of 8 people found the following review helpful:

4.0 out of 5 stars An odyssey of passion, individuality and art, May 14, 2001

By 

TheIrrationalMan - See all my reviews

This review is from: Aaron's Rod (Penguin Twentieth-Century Classics) (Paperback)

Aaron Sisson, a coal miner and amateur flutist in the Midlands, abandons his wife and two children and escapes to Italy in the hope of throwing off the trammels of his environment and realising his individual potentials. His dream is to become recognised as a master flutist. In Florence, he mixes in intellectual and artistic circles and has an affair with an aristocratic lady who redeems him in his own eyes. Like the majority of Lawrence's novels, the central theme is the relations between men and women, though this time, it is given a twist owing to Lawrence nourishing his mind on a reading of Nietzsche, who was then gradually becoming recognised in England. In his analysis of the concept of "love" between the sexes, Lawrence perceives it as a function of the will to power, a cycle of reciprocal domination and surrender, in which the man must conquer and the woman must submit. Elements of the rejection of the "herd morality" on Aaron's part and his endeavour at self-development are both ideas of peculiarly Nietzschean provenance. The fact that Aaron realises himself through music is another echo of Nietzsche, who regarded music as the purest and most supreme of the arts, in which the passions achieve immense gratification. The title refers to the rod of Aaron in the Old Testament, one of Moses's renegade priests who built the golden calf in the desert for the worship of the Israelites. The rod, his symbol of authority and independence, finds its echo in Aaron's flute, which is broken later in the novel during an anarchist riot. There is a price to pay, Lawrence seems to imply, for daring to oppose orthodoxy and to try to create a new life for oneself. Unlike Lawrence's more famous works, such as "Lady Chatterly's Lover" and "Women in Love", which are both admirable for their rich, poetic prose, "Aaron's Rod" is drably written and occasionally tedious, with a narrative that is sometimes poorly connected, as it dwells on irrelevancies. However, the message, that of an individual fulfilling his duty to himself, is an encouraging and refreshing one.

2 of 2 people found the following review helpful:

3.0 out of 5 stars Blue Ball'd, May 28, 2004

By 

Christopher Nelson (Oakland, CA) - See all my reviews
(REAL NAME)   

This review is from: Aaron's Rod (Penguin Twentieth-Century Classics) (Paperback)

Strangely, this was my first full-length D.H. Lawrence novel. Thankfully, I'd read enough of his short stories and essays to know that Aaron's Rod isn't indicative of his artistic capabilities. I was more impressed by the concept behind the novel than its execution. Essentially, Aaron Sisson's abandonment of his family and job in order to join a travelling orchestra is meant to symbolize the power and passion of "individual freedom," "personal friendship", "masculinity" and "art". I think he only half-succeeds. Just as Aaron comes across as an "incomplete" man searching for meaning in post World War I Europe, I think the novel is too loosely constructed, and Lawrence's characters, too thinly drawn. But on a symbolic level, they are full of Lawrentian psychology. The characters of Rawden Lilly, Struthers, the Bricknells, and others all overtly represent various aspects of male and female polarities; however, they are un-memorable and sometimes difficult to relate to.

I was hoping this would be more of an "artist's novel" containing interesting descriptions of Aaron's life in Florence with his bohemian friends, and to a certain extent it is, but Lawrence seemed more interested in symbolism than in telling a good story. Though scattered as a story, the concepts of individuality and society are clearly portrayed throughout "Aaron's Rod", and towards the end, when the anarchist's bomb goes off, we sense a "breaking" (the blue ball/ornament at the beginning, and the flute/rod at the end) of an outdated mode of thinking (i.e. patriarchy, male dominance, etc.) in favor not necessarily of feminity, but an integration of the two. This particular Penguin edition has an excellent introduction and helpful end-notes by Steven Vine which help explain Lawrence and his symbolism to those unfamiliar with his works. I might re-read this novel once I've read more of Lawrence, and come back to it one day from a different viewpoint, but for now, I'd have to say that unless you're a real Lawrence afficionado, I'd hold off on this one until you figure out whether or not you like Lawrence enough to proceed to something as scattered, cold, and dry as this novel comes across.

4 of 6 people found the following review helpful:

3.0 out of 5 stars For aficionados only, January 29, 2001

By A Customer

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This review is from: Aaron's Rod (Penguin Twentieth-Century Classics) (Paperback)

If you've not read any Lawrence this is not the book to start with. It fails as a novel because there is no story to speak of, just a string of scenes to initiate discussion of the issues Lawrence wished to explore. Apologists describe it as picaresque, but there is far more unity to most novels that deserve that descriptor. Nonetheless, there are wonderful scenes that fitfully jar this book to life, Lawrence's admirable command of language, and a brooding homoeroticism aching to burst out. Try this book after you've hit the major works (i.e. Women in Love, etc.).