Bell1

Julian Bell
Dr. Hall
English IV AP
15 October 2015
Julius Caesar Wrote What? The Evolution of Artistry in Joyces Portrait of an Artist and
Caesars De Bello Gallico
When the subject of art becomes the topic of any conversation, presumably many will
conjure up images of elaborate sculptures and meticulously painted canvasses. However, other
forms of art exist outside the realm of world renowned pieces that often occupy decadent
museum walls.

In fact, art manifests in various aspects of daily life as well as in many

occupational endeavors. A general that leads his army and a young boy who wishes to express
his true self in a culturally oppressive society likewise assume the role of an artist. The general
paints his fresh vision of the world through the orders he issues to his soldiers that are then,
carried through. Similarly, the young boy must decide for himself what true artistry is and how
to utilize his life and culture as the medium in which he is to forge his ideas and beliefs. Thus,
art is also a variable whose subjective qualities allow it to exist in multiple forms through the
actions and ideas of others. In this sense, art is then an intangible quality and like beauty, what
one may consider a work of art may very well be a simple observation or idea which is then
taken for granted. A good example of this premise arises once the European acquisition of
African art is considered.

When the African continent, rich in beauty and elegance, was

subjected to imperialism by European nations, various possessions extracted and introduced to

the Western world. A great amount of these objects were either displayed in museums across

Bell2

Europe or sold for tremendous profit. In this case, many of the objects in which Africans had
conceived in their homeland as ritualistic symbols and pieces that achieved practical purposes,
the Europeans adopted as aesthetic works of art which they greatly admired and appreciated. In
this manner, art completely transformed in order to fulfill another unique purpose other than its
intended purpose. In his novel A Portrait of the Artist as a Young Man, James Joyce redefines
the meaning and intention of true artistry to fulfill an alternative agenda through the life of his
young protagonist, Stephen Dedalus. Centuries prior to the publication of his novel and before
Joyce had even been born, a legendary Roman statesman and general known as Julius Caesar
began composing his own literary work of art by recording what he had witnessed during the
Gallic Wars. Interestingly enough, Joyce in his novel, makes a very brief reference to Caesars
now historical literature. Though this reference is indeed vary brief as it only appears once in
Part I of the entire novel, nonetheless it serves the vital purpose of enhancing ones view of
Joyces entire text, allowing the novel to be experienced from an historical perspective. Both
Joyces novel and Caesars De Bello Gallico, exemplify the flexibility and evolution of artistry
through the actions of their protagonists, thus deeming Julius Cesar and Stephen Dedalus as true
artists.
In A Portrait of the Artist as a Young Man, James Joyce foreshadows the evolution of
artistry through the gradual development of his young protagonist, Stephen Dedalus.

An

example of this is present in Part I of the novel: And on the wall of another closet there was
written in backhand in beautiful writing: Julius Caesar wrote The Calico Belly (43). This
portion of the novel demonstrates Stephens attempt to recollect a phrase he viewed written on a
wall. According to one literary commentator however, this excerpt from the novel highlights
Stephens youth through his inaccuracy in remembering what had actually been written on the

Bell3

wall. Furthermore, Julius Caesar wrote the Bello Gallico in which he provides detail information
regarding his experienced firsthand account of the Gallic Wars. This evident play on words
extracted from the excerpt in Joyces text demonstrates Stephens confusion in recollecting
relevant historical information. Thus, Stephens ignorance reflected in his lack of knowledge
regarding historical facts successfully uncovers Stephens nave youthful state which Joyce uses
to signify that his protagonist his still developing (Pseudonym). Stephens attempt to recollect
the title of Julius Caesars famous work not only predicts Stephens growth in the latter portions
of the novel but, also Joyces transition from artistry originating in Irish culture to the originality
of Stephens own ideas manifested in his strong convictions. Perhaps, an investigation into the
life of James Joyce will provide the key to unlocking the ideas Joyce planted inside the mind of
his mysterious protagonist.
James Joyce is considered to be one of the greatest novelists of 20th century modernist
literature and establishes his artistic vision through the life of Stephen Dedalus in his novel
Portrait. Joyce was born in Dublin, Ireland in 1882. He was known for his short stories, novels,
and poems. Despite his dynamic writing style, Joyce is best known for his novels. First
published in 1914, Joyce wrote his collection of short stories entitled Dubliners. His most
successful novels include Ulysses, Finnegans Wake, and A Portrait of the Artist as a Young
Man. Joyces poetic pieces include Chamber Music and Pomes Penyeach. Eventually, Joyce
married Nora Barnacle after having a few children with her. Interestingly, Joyce along with his
wife and children eventually sought asylum in South France during the start of WWII due to the
proliferation of the Nazi regime in Europe (James Joyce). In his novel Portrait, Joyce bases
his protagonist Stephen, on his own life experiences growing up in Dublin. In fact, according to
one literary critic, Joyces novel is a reflection of Joyce himself seeking to express himself

Bell4

organically in a conformist Irish culture. It is further understood that in his novel, Joyce initially
creates a dynamic in which Stephens life is only understood in relation to the varying opinions
and beliefs of those around him. Joyce makes this dynamic evident through his adoption of a
third person narrator. This literary expert further explains that Joyce then, shifts the narrative
viewpoint to the first person in providing Stephens own unique ideas a part from his
encompassing Irish culture. The reader is first exposed to this transition in the final part of the
novel which introduces some of Stephens personal journal entries. In establishing this shift
between narrative viewpoints, Joyce effectually expresses Stephen as an artist armed with purely
unique ideas and conclusions much like Joyce possessed himself. It is additionally noted that
unlike Stephen who rejects Irish nationalism through self-centered lyricism, Joyce attempts to
expose the great potential for the expansion of ideas found in Irish culture (Mulrooney, Sec. II).
It is then quite evident that Joyce strives to change as well as challenge that which is considered
to be true art in its purest form. Interestingly enough, Julius Caesars narrative of the Gallic
Wars shares obvious similarities with Joyces novel in both style and purpose.

Before

addressing such similarities, one should first consider the life of Julius Caesar in the same sense
that Joyces life is evaluated above.
Much like James Joyce and his young protagonist Stephen Dedalus, Julius Caesar
possessed an artistic vision that transcended the surrounding culture in which he grew up in.
Born on July 12 100 BC in Rome, Caesar rose to political prominence and unarguably, became
the most dominant general in Roman history. Caesars vast political campaign spread all across
Europe and even to Egypt. He was considered to be an absolute military genius who vowed to
crush any opposing civilization that threatened his military might. In fact, during the Battle of
Alesia which was part of the Gallic Wars, Caesar eventually threw the opposing Gallic forces

Bell5

into such a state of fear and confusion, that when they tried to retreat, Caesars German
mercenary horseman slaughtered them (Gaius Julius Caesar). Perhaps Julius Caesar is best
known for his activity in the Gallic Wars which lasted eight years from 58-50 BCE. The end of
the war resulted in a Roman victory lead by Caesar himself over the Gallic leader, Vercingetorix
who viciously rebelled against Roman occupation according to the Encyclopdia Britannica
(Gallic Wars). Both Julius Caesar and James Joyce have much more in common apart from
the fact that both men are deceased. They were both male authors who had experienced some
form of war. More importantly, both Joyce and Caesar maintained a vision, fortified by their
strong beliefs in spite of the surrounding opposition. Furthermore, the manner in which both
Julius Caesar and Stephen Dedalus represent Joyces conception of the true artist will now be
considered.
In the novel Portrait, the protagonist Stephen Dedalus tries to rid himself of the stifling
customs associated with Irish culture, thus exemplifying Joyces idea of the true artist.
Throughout the novel, young Stephen is conflicted socially, religiously, and politically. In part I
of the novel for instance, Stephen is subjected to an intense debate within his family concerning
both politics and religion. Ill pay you your dues, father, when you cease turning the house of
God into a polling booth (29). Heated discussions such as this continue throughout Part I, in
which unattractive customs within Stephens culture contribute to the internal pressure in his
youth. They all laughed again. Stephen tried to laugh with them. He felt his whole body hot
and confused in a moment. What was the right answer to the question? He had given two and
still Wells laughed (11). This excerpt demonstrates Stephens experienced pressure as well as
his attempt to conform to the thoughts his peers had of him. As Stephen matures, he challenges
the premises of the Catholic Church and even turns down the opportunity to become part of the

Bell6

priesthood. As originally stated, the end of the novel marks Stephens transition into his true self
with unique ideas apart from the ones postulated by those around him (Joyce). Therefore, Joyce
effectively represents Stephen as an artist in addition to the shift from the artistry based in his
Irish culture to Stephens adopted individualism. As exemplified above, Joyce creates this shift
by providing the reader with Stephens experiences growing up in order to effectively
demonstrate Stephens gradual evolution into an artist. Interestingly, Julius Caesar was much
like an artist himself, especially in relation to Joyces vision, when one begins to consider
Caesars own ideas and influence indicative in his writing.
Much like the fictional character Stephen Dedalus, Julius Caesar also exhibited qualities
that would constitute him as an artist. Such qualities are initially present in Caesars youth
which is similar to Stephens case. It would be of poor judgement to suggest that Julius Caesar
was born with a sword in his hand and influence over the people of Rome. In fact, according to
one historical source, discussing the Caesars childhood, Julius Caesar grew up in an old
aristocratic family. Having been born into a family of politicians, young Caesar was expected
to obtain a simple career in politics upon the completion of his education. However, from a very
young age, Caesar was keenly aware of the strategies needed to rise politically. Caesar being
naturally ambitious did not simply wish to have a job in politics, but instead to dominate the
political scene in Rome. In order to achieve this, Caesar understood that his main focus would
have to be on economics. Thus, Caesar rebelled against the wishes of his parents and sought to
individualize his future. He had a vision, an artistic vision perhaps, to someday lead the Roman
people under his own accord. Caesars desire to rise to political prominence only intensified
upon the untimely death of his father, when Caesar was still a teenager. Interestingly, as Caesar
sought to fulfill his political ambitions, he was eventually forced into exile, a consequence of

Bell7

seeking to establish questionable political connections. The source goes on to say, But these
were dangerous contacts to have. Sulla was dictator of Rome and was seeking to wipe out any
Marian sympathizers (Gaius Julius Caesar). It is therefore, quite evident that Caesar, like
Joyces protagonist, Stephen, sought to express himself in a manner apart from the constraints
and expectations of his culture. As Julius Caesar is further evaluated as an artist, his literary
capabilities begin to come into focus.
As Joyce accomplishes in his novel, Julius Caesar also exhibits Joyces meaning of true
artistry in his own writing. According to one historian, Caesar wrote what is now considered to
be Commentarii de Bello Gallico which is Italian for Commentaries on the Gallic War.
Caesars work is more often referred to as simply De Bello Gallico which is Latin for The
Gallic Wars. The history expert further explains that Caesars now famous literary work
originally was not given a title. However, when Caesar initially composed these writings, he
referred to them as commentaries. Caesar wrote De Bello Gallico during the Gallic Wars as
the seven books signify seven years of war. In his writing, Caesar simply made observations
regarding what he witnessed while engaged in this war against Germanic tribes. Caesars
original writings are journal entries about the various military tactics that were used in order to
successfully conquer the opposing army.

The historian further state that Caesars writing

remains difficult to comprehend even among Latin students due Caesars mentioning of complex
military tactics that rely on the readers knowledge of battlefield strategies (Gill). Thus, through
Caesars writing as well as his early life experiences, one may deduce that Caesar successfully
expressed the uniqueness of his own ideas through his actions despite his initial subjugation to
cultural stipulations. This in effect, makes Julius Caesar much like the artist that Joyce had
conceived in his own writing. Perhaps the relationship between Joyces text and Caesars

Bell8

commentaries in exemplifying the evolution of artistry should now be explored, which happens
to be the focal point of the discussion.
In both Joyces novel Portrait and Caesars De Bello Gallico, the idea of individual
expression which originates from the surrounding culture, blossoms into the unique observations
and beliefs conceived by the individual, thus allowing true artistry to form. Beginning with
Joyces novel, Stephen is bombarded with the opinions and expectations that those around him
impose. As previously mentioned, this includes the standards held by the Catholic Church which
further stifles the artistic and intellectual potential that Stephen expresses towards the novels
end. For instance, young Stephens encounter with one of his peers provides a brief example of
his detachment and perceived unacceptance from others. Joyces text states, Nasty Roche had
big hands. He called the Friday pudding dog-in-the-blanket. And one day he had asked:
-What is your name?
Stephen had answered:
-Stephen Dedalus.
Then Nasty Roche had said:
-What kind of a name is that? (5)
This excerpt taken from the novel is just one of many instances in which young Stephens life is
subject to the opinions of those around him. The following example demonstrates Stephens
anxiety regarding the doctrines of the Catholic Church. No escape. He had to confess, to speak
out in words what he had done and thought sin after sin. How? How? (136) Again in a much
more intense circumstance, Joyce demonstrates Stephens anguish associated with the
suffocating nature of the Catholic Church which so heavily weighs on young Stephens soul. At
the end of the novel however, Joyce prepares the reader for the upcoming transition to a purely

Bell9

organic version of Stephen Dedalus or simply, his true self. Joyce most notably achieves this
through the presentation of Stephens journal entries which exemplifies the novels shift from a
narrators perspective to Stephens own perceptions. 13 April: That tundish has been on my
mind for a long time. I looked it up and find it in English and good old blunt English too. Damn
the dean of studies and his funnel! What did he come here for to teach us his own language or to
learn it from us? Damn him one way or the other! (274)

This excerpt is of particular

significance since it marks one of the first instances in which Stephen not only expresses his own
thoughts, but does so in a manner unique to who he truly is apart from his culture. Therefore, the
evolution of artistry is nonetheless evident in Joyces novel.

This same transition can be

observed in Caesars work, but before this is further addressed, Caesars fluent writing
capabilities were evident upon reading his literature. The privilege of experiencing Caesars
impressive style of writing was first noticed upon reading chapter 1 of his De Bello Gallico. At
the beginning of Caesars intriguing account, which was extracted from a university based site,
Caesar eloquently sets the scene for the upcoming battle to take place against the Gauls. In fact,
Caesar vivifies the various details and scenery observed on the battle field thus, momentarily
creating the illusion that a violent encounter is not to take place at all. According to Caesars
account, All Gaul is divided into three parts, one of which the Belgae inhabit, the Acquitani
another, those who in their own language are called Celts, in our Gauls, the third (The Gallic
Wars). This excerpt which was extracted from Chapter 1 of Caesars firsthand account of the
Gallic Wars showcases his smooth writing style that tends to soothe the reader into anticipating
the incoming conflict. Furthermore in Caesars writing provided by an MIT based archive, Of
all these, the Belgae are the bravest, because they are furthest from the civilization and
refinement of [our] province, and merchants least frequently resort to them, and import those

Bell10

things which tend to effeminate the mind; and they are the nearest to the Germans, who dwell
beyond the Rhine, with whom they are continually waging war; for which reason the Helvetii
also surpass the rest of the Gauls in valor, as they contend with the Germans in almost daily
battles (Sec. 1). This excerpt from Caesars De Bello Gallico immediately draws attentions to
Caesars great attention to meticulous details in his extensive knowledge of the behavior and
nature of his enemies.

Much like Joyces novel, Caesar in his writing, demonstrates the

evolution artistry upon his description of the events surrounding his victory over the Gauls.
Noviodunum was a town of the Aedui, advantageously situated on the banks of the Loire.
Caesar had conveyed hither all the hostages of Gaul, the corn, public money, a great part of his
own baggage and that of his army; he had sent hither a great number of horses which he had
purchased in Italy and Spain on account of the war (Sec. 7). Through Caesars description of
the hostages and other possessions he obtained upon defeating the Gauls, he successfully
demonstrates the transition to true artistry in addressing his own state of victory unique to his
individualism which is characteristic of his writing. In section 1 of Casears account, Caesars
surrounding environment and predicament based on external facts is emphasized instead of his
personal experiences. However, as exemplified in the more recent excerpt, Caesar addresses his
victory over the Gauls in relation to himself in he mentions his own name. Thus, Caesars
account of the Gallic Wars in his Commentarii de Bello Gallico, and Joyces novel Portrait
demonstrate the evolution of artistry as well as the changing experience of the artist through the
gradual shift towards individualism in both of their pieces of literature. Although Stephen
Dedalus is a fictional character conceived by Joyce and Julius Caesar was an actual historical
figure, there exists inevitable similarities between both characters as well as in the writings in
which they are both centered upon.

Bell11

Though Stephen Dedalus and Julius Caesar were conceived in completely different eras,
these two individuals nevertheless, share undeniable similarities. Firstly, Julius Caesar and
Stephen Dedalus were both exposed to situations of potential weakness and subjugation through
their surrounding culture in their youth. As stated earlier, Caesar was expected to assume a
modest role in politics contrary to his actual desire to as he put it, make something of
himself (Gaius Julius Caesar). Likewise, Stephen was originally confounded to the views and
expectations others had of him (Joyce). Interestingly enough, in both of the writings in which
Stephen and Caesar are based, there is a consistent third person limited narrative viewpoint. This
perspective assumed throughout most of Portrait and the reader of De Bello Gallico is limited to
Caesars personal bias in which he writes his narrative rarely if ever using the I personal
pronoun. Obviously, Stephen and Caesar are both the protagonists of their narratives and as
mentioned before, the meaning of artistry in relation to the two artists themselves changes.
Perhaps the greatest similarity that exists Caesar and Stephen is the found in the fact that they
become individual authorities over themselves and have thus, mastered the art of individualism.
An instance of this idea pertaining to the mastery of oneself is clearly evident in Caesars case in
addressing the time in which he was captured by Cilician pirates who controlled various parts of
the Mediterranean Sea. According to Plutarch, an ancient Greek historian, the pirates had been
clearly unaware as to whom they had captured. The pirates then demanded twenty talents from
Julius Caesar. Upon hearing this request, Caesar reportedly burst out into a fit of laughter,
utterly scoffing at the pirates demand. Caesar then offered them fifty talents instead. Being the
authoritative leader that he was, Caesar had spoken to the pirates ironically as if they were his
captives. Furthermore, the pirates were quite amazed at Caesars freedom of speech and
boyish playfulness. Most eerie of all, while still being held captive by these pirates, Caesar

Bell12

joked about having each of them crucified upon his release. The pirates all laughed with him.
However, once Caesars ransom was paid and he was set free, Caesar and his men immediately
set out to capture these Cilician pirates. He then made a personal order to crucify the lot of
them (Caesar).

It seems that Julius Caesar possessed a rather cruel sense of humor.

Nevertheless, through Plutarchs account, Caesars strong individualism superseded the

unfavorable circumstance, a trait both Stephen and Caesar developed over time. Thus, Julius
Caesar and Stephen Dedalus are artists of their own lives. Is it then possible that Caesars artistic
vision of Rome spread to Ireland before Joyce and his writings had even been conceived?
It is quite possible that Julius Caesar and the Romans made their way to Ireland, thus
influencing Irish culture. However, according to a postgraduate student from the University of
Oxford, there is very little evidence to suggest that Ireland had ever been invaded by the
Romans. According to this source of information, it is more likely that the Roman Empire
purposely ignored the island of Ireland during their conquest due to the lack of economic
prosperity and resources which the Romans so strenuously sought after. In other words, it is
believed that Ireland provided no particular interest to the Romans, but instead was inevitably
subjected to Roman influence mostly through trading. The history student further states, The
astonishing find of a Roman fort at Drumanagh fifteen miles north of Dublin would seem at
first sight to show that there was an invasion. However, the student here quickly discredits the
implication made by this claim based on the fact that there were absolutely no excavations
conducted at the sight. The fact is also addressed that the Romans did not necessarily invade
every civilization they encountered but, instead influenced numerous civilizations through
trading and other interactions as previously stated. However, in his Commentaries on the Gallic
War, Julius Caesar addressed island of Ireland along with other writers of the ancient world.

Bell13

Ironically, the Romans viewed the Irish as a savage group of people who were inclined to
violence. Additionally, the Irish were believed to practice cannibalism as well as sex between
relatives. Despite the mentioning of these interactions between the Romans and the Irish as well
as the obvious geographical knowledge the Romans clearly had of Ireland, there is very little
evidence to suggest that Ireland was ever invaded by Rome. Of course during the period of
Roman imperialism, Ireland was then known as Hibernia, the then Latin name given to the island
(Adams). Upon encountering images of Julius Caesar and a map of Ireland, stronger connections
were made between these elements in relation to Joyces novel. During the research process,
images were extracted of various elements relating to Julius Caesar and Ireland in order to obtain
an appreciation for how these ideas relate to the novel Portrait. One such image depicts a statue
of Roman Statesman Julius Caesar, which appears to be made out of stone.

The image

accurately captures the pride and valor of Caesar which also captures the intricacies of his
uniform (Julius Caesar). The image was then used to sketch an image of Julius Caesar. The next
image depicts a painting of Julius Caesar and perhaps his greatest adversary during the Gallic
Wars, Vercingetorix. The image shows the Gallic leader Vercingetorix, throwing down his
weapons at the feet of Caesar indicating a gesture of surrender. The painting is composed of
dark, rich colors which highlight the rest of the battle taking place in the background, depicting
both Caesars and Vercingetorixs soldiers. This painting is currently being held at the Crozatier
Museum in France (Royer). Another image depicts a similar scene in which Vercingetorix is
surrendering to Caesar. However, the image is a black and white sketch. Compared to the
painting, this image evokes a darker mood with shadows that add to it a great range of value
(Neuville). The final image is a simple map of Ireland which shows the island separated into
various parts while surrounded by a massive body of water (Ireland). The map of Ireland was

Bell14

then, used to draw out a similar map while mimicking the color schemes of the original. The
pictures of Julius Caesar along with the map of Ireland highlight the rich culture and artistry that
is so prevalent throughout the novel Portrait. Considering the cultural information obtained in
addition to the close reading of Joyces novel, one question still has yet to be explored: What
determines the outcome of ones fate?
Both James Joyce and Julius Caesar effectively convey the evolution of artistry from
cultural tradition to individualism, which in effect raises the question regarding the fate of the
artist. Although Joyces conceived version of himself through Stephen Dedalus shares numerous
similarities with Julius Caesar, it cannot be argued that both Julius Caesar and Stephen Dedalus
experienced very different fates. In Stephens case, his journey to self-expression led him to a
life of freedom. This idea is presented through the following quote at the end of the novel: I
will not serve that in which I no longer believe whether it call itself my home, my fatherland or
my church: and I will try to express myself in some mode of life or art as freely as I can and as
wholly as I can, using for my defense the only arms I allow myself to use- silence, exile, and
cunning (268-269). From this excerpt from the novel it is evident that Stephen acquires freedom
through his artistic journey. Ironically, this is quite different from Caesars fate as an artist.
According to another source, Julius Caesar was assassinated in 44 B.C. by a few of his closest
Roman acquaintances in an attempt to overthrow his dictatorship (Gaius Julius Caesar).
Therefore, Caesars fate was quite tragic, while Stephen was allowed to continue living his life
as indicated at the end of Portrait. Perhaps the difference of the fate between these two men is
reflected upon their individual intentions. Unlike Caesar, Stephen was repentant of his sins
(Joyce) and sought to better his life through the practice of freedom and individual expression
whereas Caesar lived a violent life marked by military conquest and murder. Thus, Stephen

Bell15

Dedalus would be considered the hero who was granted a better life, while Caesar would be
considered a villain to those he conquered and thus, died by the way he lived. In other words,
Stephen Dedalus lived in peace and continues to live while Julius Caesar lived and died by the
sword. However, such strong moral implications perhaps address a broader topic encompassing
the ethics mankind and should be reserved for another research project. Finally, James Joyce in
his novel Portrait, seeks not to abandon Irish culture but instead simply expand upon it through
Stephen Dedalus: I go to encounter for the millionth time the reality of experience and to forge
in the smithy of my soul the uncreated conscience of my race (275- 276).

Bell16

Works Cited

Adams, Colin. "Hibernia Romana? Ireland & the Roman Empire." History Ireland. History
Publications Ltd, 18 Feb. 2013. Web. 10 Oct. 2015. <http://www.historyireland.com/prenorman-history/hibernia-romana-ireland-the-roman-empire/>.
"Caesar and the Pirates." Julius. Trans. Robin Seager. N.p., n.d. Web. 10 Oct. 2015.
<http://www.livius.org/caa-can/caesar/caesar_t01.htm>.
"Gaius Julius Caesar." Julius Caesar. N.p., n.d. Web. 6 Oct. 2015. <http://www.romanempire.net/republic/caesar-index.html>.
Gallic Wars. Encyclopdia Britannica. Encylopdia Britannica online.Encylopdia
Britannica Inc., 2015. Web. 7 Oct. 2015
"The Gallic Wars." The Internet Classics Archive. Trans. W. A. McDevitte and W. S. Bohn.
N.p., n.d. Web. 9 Oct. 2015. <http://classics.mit.edu/Caesar/gallic.1.1.html>.
Gill, N. S. "De Bello Gallico Overview." About.com Education. About.com, 2015. Web. 8 Oct.
2015. <http://ancienthistory.about.com/od/gallicwars/a/072007DebelGall.htm>.
"Ireland." Write Opinions. N.p., n.d. Web. 12 Oct. 2015.
<http://www.travellingbears.dk/bears/_images/Ireland2.gif>.
"James Joyce." Poetry Foundation. Poetry Foundation, 2015. Web. 9 Oct. 2015.
<http://www.poetryfoundation.org/bio/james-joyce>.
Joyce, James. A Portrait of the Artist as a Young Man. New York: The Penguin Group,
1993.print.
Julius Caesar. Digital image. Daily Reckoning. N.p., n.d. Web. 11 Oct. 2015.
<http://dailyreckoning.com/dr-content/uploads/2013/06/JuliusCaesar.jpg>.

Bell17

Mulrooney, Jonathan. Stephen dedalus and the politics of confession Studies in the Novel
2(2001): 160.eLibrary.Web. 6 Oct. 2015
Neuville, A. De. Vercingetorix Surrenders to Caesar. Digital image. Clip Art ETC. N.p., n.d.
Web. 12 Oct. 2015. <http://etc.usf.edu/clipart/20500/20542/surrendering_20542.htm>.
Pseudonym, Clever. "Julius Caesar Wrote... in A Portrait of the Artist as Young Man." Genius.
Genius Media Inc, n.d. Web. 6 Oct. 2015. <http://genius.com/2649709>.
Royer, Lionel Nol. Vercingetorix Throws Down His Arms at the Feet of Julius Caesar. 1899.
Crozatier Museum, Le Puy - En - Velay. Wikipedia. Wikimedai Fondation Inc., 26 Oct.
2015. Web. 11 Oct. 2015. <https://en.wikipedia.org/wiki/Gallic_Wars>.