And with the statue of Poseidon crowning it, Pharos also sheds new light on Mrs. Ramsay's thoughts of the dish of fruit as part of "Neptune's banquet," and of Mr. Carmichael, late in the novel, "looking like an old pagan god, shaggy, with weeds in his hair and the trident." From Pharos and from Forster, Virginia learned to combine realism and mysticism, so as—as she said of Ibsen's technique in her 1927 review of Forster—to make us feel that "the thing we are looking at is lit up, and its depths revealed."Forster's Pharos and Pharillon also invites thoughts about the protean power of language and about Virginia's playfulness.
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