placed Parnell in "Phase Ten" of his occult system of archetypes: the "Image-
Breaker" his "Mask" conferring both "self-reliance" and "isolation"; "creates some
code of personal conduct, which implies always 'divine right.'" Private desires in
this phase conflict with public restrictions, which are undermined by "some woman's
tragic love almost certainly." ⁵⁷ Much of this was inspired by the Love Story, which
also influenced some of Yeats's comments in the divorce bill controversy a few years
later. So he was ready for Harrison in 1936. Reading Parnell Vindicated for the first
time, and spending an afternoon with the author, induced high excitement; he was
particularly delighted by Harrison's account of Parnell breaking up a tedious dis-
cussion with Willie by throwing Katharine over his shoulder and bearing her off to
bed. The encounter with Harrison precipitated a relapse of ill health and a number
of ballad poems.

The Bishops and the Party
That tragic story made,
A husband that had sold his wife,
And after that betrayed . . .

Meanwhile in Hollywood the film of Elsie T. Schauffler's play went ahead,
directed by John M. Stahl for MGM, and was released in 1937. ⁵⁸ To Gerard O'Shea's
talents were added those of Clark Gable and Myma Loy. One scene stays in the
mind--an echo of Joyce's "Ivy Day in the Committee Room" a silver screen per-
sonification of the Yeatsian Phase Ten--or perhaps another, indirect manifestation
of Katharine's revenge? Gable as Parnell, and Myrna Loy, arrive at a London hotel.
Passing through the lobby, they glance into a room; it is inhabited by members of
the Irish party, sitting around a table well supplied with bottles of stout. An expres-
sion of distaste crosses Gable's (unmustached) features. "Those fellow!" he remarks,
with a twang of contempt, and masterfully steers Mrs. O'Shea away from them, up
the stairs.

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