Dom Casmurro

Bento pays a morning visit to Capitú’s house. Her mother, Dona Fortunata, informs him that Capitú is in the living room combing her hair. Bento enters quietly, but a noise gives him away. Capitú, anxious about whether José Dias has discussed his priesthood with Dona Gloria, questions him. Capitú expresses doubt, while Bento assures her that José Dias will eventually discuss the matter with his mother.

The conversation prompts Bento to recall José Dias’s previous description of Capitú’s eyes as “gipsy’s eyes, oblique and sly” (48). Intrigued, he asks to look into her eyes, trying to determine if they fit this description, but he finds her eyes to be gentle and familiar. Her eyes hold a bewitching quality that has a profound effect on him, leaving him entranced. He compares them to the ocean tide, with a force that draws everything in. Bento’s attention briefly shifts, and he gazes at her ears, arms, and hair. Eventually, he suggests combing Capitú’s hair, and she accepts.

Bento invites Capitú to sit, and he starts braiding her hair with meticulous care. He proceeds at a deliberate pace, occasionally letting his fingers graze her neck and shoulders. He deliberately makes some mistakes, prolonging the process to savor the moment. When he finishes, instead of heading to the mirror, Capitú leans her head backward. Bento urges her to sit up, but Capitú continues to gaze at him. They share an unexpected, intense kiss that leaves both speechless.

Capitú’s mother, Dona Fortunata, enters the living room. Capitú quickly recovers her composure, without a hint of embarrassment. Dona Fortunata doesn’t seem to suspect the true nature of the situation at first, and she compliments Capitú’s hair. Bento believes Dona Fortunata suspects his discomfort, although she smiles and ignores it.

Dona Fortunata mentions that Padre Cabral is waiting for Bento for a Latin lesson. Bento uses this as an opportunity to escape and goes to his room, where he reflects on the experience. He utters “I am a man!” with great pride. Despite the thoughts of the seminary briefly crossing his mind, Bento firmly believes that he is not meant to become a priest.

Bento rushes to his Latin lesson. Upon entering the living room, he discovers the whole family alongside Padre Cabral in a joyous gathering. Padre Cabral announces a recent distinction he received from the pope, who named him a Protonotary Apostolic. The family congratulates him and invite him to join them for dinner. After Padre Cabral releases Bento from his lesson, José Dias injects a note of caution, speaking of the indispensability of Latin, irrespective of Bento‘s potential career path. Bento takes notice of this first indication of José Dias fulfilling their agreement.

Dona Gloria responds optimistically, affirming her belief in Bento’s future as a padre. Padre Cabral refers to Bento as “Protonotary Santiago” and starts a discussion on his ecclesiastical future, expressing eagerness to assist in the process. Bento grapples with mixed emotions, recognizing the weight of his mother’s expectations. A mysterious idea takes root in his mind.

After his Latin lesson, Bento reflects on the morning’s encounter and decides to visit Capitú’s house with the intention of reliving the kiss. Upon arriving, he finds Capitú sewing in the living room. Capitú doesn’t look at Bento. Although he longs to draw Capitú near and embrace her, Bento fails to initiate a conversation. Capitú, still not meeting his gaze, appears fearful and avoidant and maintains silence.

Bento decides to share the news of Padre Cabral’s protonotary appointment with Capitú. He narrates the morning’s events, conveying dissatisfaction with Padre Cabral’s impact on his mother and her insistence on him joining the seminary. Capitú proposes to visit Padre Cabral to congratulate him herself, playfully mentioning that she’s almost grown up enough to do it independently. Bento interprets her remarks as alluding to their previous kiss and attempts to kiss her again. Capitú resists, pulling back. Before Bento can release her, Capitú unexpectedly kisses him just before Padua enters the living room, leaving Bento pondering the enigmatic nature of their interactions.

Padua finds Capitú seemingly busy with her sewing. Despite the unexpectedness, she maintains her composure and engages in conversation effortlessly. Capitú shares the information she learned from Bento, proposing that her father visit Padre Cabral at his house while she goes to Bento’s house. As she collects her sewing materials, she calls for her mother, announcing her father’s return and suggesting they commence dinner.

When Capitú accompanies Bento to his house, Padre Cabral is in a celebratory mood. Capitú speaks to him and later joins Dona Gloria, with whom she spends the entire evening. José Dias, after a lengthy speech praising the pope, discusses with Padre Cabral the idea that some individuals are born with a vocation for an ecclesiastical career, while others may be better suited elsewhere. Padre Cabral challenges José Dias’s perspective, recounting his own journey to the priesthood, revealing that he initially wanted to pursue medicine. Despite not being interested in life at the seminary at first, he eventually developed a genuine liking for the studies. However, Padre Cabral asserts that one can enter a seminary and study other subjects without becoming a priest, a notion that surprises Cousin Justina. Padre Cabral highlights Bento’s childhood fascination with church-related items and devotion to religious services as evidence of his own calling to ecclesiastical life.

During the evening, Bento experiences a sense of longing and restlessness as Capitú stays with his mother instead of him. As Capitú leaves, Bento, despite her urging him not to, follows her. Capitú signals him to stay, whispering that they’ll talk tomorrow, and she departs.

Bento contemplates confessing to his mother that he lacks an ecclesiastical vocation and revealing his romantic involvement with Capitú. Reflecting on his lifelong inclination for daydreaming, Bento employs an analogy, likening his imagination to an Iberian mare. According to ancient lore, these creatures could conceive from the wind, mirroring the fertile, swift, and occasionally erratic nature of his own imagination.

Bento decides to share his concerns with his mother. Bento questions his mother about when she expects him to start at the seminary, leading both to tears as the weight of this impending commitment becomes evident. Bento discloses his reluctance. Despite his mother recalling his earlier eagerness, he explains the shift in his feelings. Bento suggests begging God for release, but his mother quickly rejects the idea, insisting that he forget the matter and proceed with the plan to enter the seminary.

Bento visits Capitú’s house the next day, finding her bidding farewell to two school friends, Paula and Sancha. She appears unwell and has a handkerchief tied around her head. Bento shares the aftermath of his conversation with his mother, revealing his entry into the seminary within two or three months. Capitú shows a mix of anger and sorrow, wiping tears from her eyes. Bento tries to comfort her, but Capitú is seemingly lost in introspection. Concerned, Bento recounts the conversation with his mother again, softening the details to spare her further distress. Reflecting on the situation, Bento regrets revealing the truth to his mother before José Dias could intervene effectively. Capitú remains deep in thought, contemplating the implications of their predicament.

Capitú poses a series of probing questions to Bento, asking of his fears of receiving a beating, being imprisoned, engaging in a fight, progressing in life, or working. Bento struggles to grasp her meaning, allowing his thoughts to wander. Capitú dismisses her questions as a joke, teasing Bento by calling him a coward. Despite her attempt to lighten the mood, Bento remains earnest and bewildered. Capitú attributes her lapse to her current mental state and bids farewell to Bento, citing a headache. Both move to the yard and Capitú mentions their impending separation. Bento attempts to lift her spirits, but she seems distracted.

Capitú challenges Bento by asking him to choose between her and his mother. She presents hypothetical scenarios, questioning whether he would defy his mother’s orders to be with her. Despite Bento’s reassurances, Capitú, unconvinced, uses a stick to write “liar” on the ground. Bento struggles to comprehend the situation. Lashing out after her provocation, he suggests that the life of a priest might not be so bad, hoping for a dramatic reaction from Capitú. However, she responds with subtle sarcasm, expressing interest in attending his first Mass in a stylish dress.

Bento takes her provocation further by suggesting two conditions for her to do so. He proposes that he be the one to handle her confession and absolution, as well as the one to officiate at her wedding. Capitú, now visibly affected, proposes an alternative, suggesting that Bento baptize her first child, considering the length of his studies before his ordination.

Bento reacts with astonishment when Capitú speaks about her first child in a casual manner. This unexpected provocation evokes a sense of jealousy in him and an overwhelming realization of their potential future separation and the loss of their connection. Bento insists that, despite the appalling nature of Capitú’s words, his narration is faithful.

After their bickering, Bento falls into a thoughtful silence and contemplates leaving. However, Capitú’s beseeching gaze prevents him. He embraces her. Dona Fortunata briefly appears but hastily withdraws. Both Bento and Capitú actively seek forgiveness, each taking blame for the conflict. Capitú explains her provocations, attributing them to sleep deprivation, a headache, low spirits, and her temper. Bento sheds tears during this reconciliation.

Bento asks about Capitú’s question concerning the possibility of him getting a beating at the seminary. Capitú clarifies that she had heard rumors about such incidents. Though Bento accepts this explanation, in hindsight he is skeptical of her honesty, suspecting that she lied.

At the well near their homes, Bento proposes they take a solemn oath, promising not to marry anyone else but each other. Capitú, suggesting an even stronger pledge, proposes that they commit to marrying each other regardless of the circumstances. Both agree and swear to this commitment, finding joy and reassurance in the promise amidst their fears about the future. Bento, contemplating the possibility of enrolling in the seminary, plans to perceive it as an ordinary college, a decision Capitú reluctantly accepts. Despite her apprehension about their separation, she sees this compromise as the best option to avoid distressing Bento’s mother.

Bento and Capitú dream of their future life together. Bento assures his bride of a serene and beautiful life, with periodic returns to their hometown. Their fantasy includes intricate details of their future home. In it, Bento envisions a special oratory, where they would light a candle on Saturdays, seeing it as a means to compensate for not pursuing the priesthood.

Disappointingly for Bento, he finds himself entering the seminary of São José just months later. Padre Cabral proposes a compromise to Dona Gloria, suggesting a two-year trial period to determine if the priesthood aligns with Bento’s vocation, while José Dias advocates for a shorter one-year trial. In private discussions, José Dias proposes Europe as an alternative if the seminary doesn’t suit Bento. Dona Gloria, although seemingly open to the idea, firmly rejects it. Despite her evident sadness at Bento’s departure, she remains steadfast in her desire to see him become a priest. Capitú and Dona Gloria deepen their connection, displaying increased attentiveness and affection with one another.

Bento and Capitú share a poignant farewell in her living room. They pledge again to marry each other, sealing the commitment with a kiss. Bento reaffirms his love for Capitú, expressing that his genuine calling resides in being with her rather than pursuing an ecclesiastical life.

In the early morning, Padua visits Bento’s house to say his goodbyes. Acknowledging the potential for malicious gossip, hinting at José Dias, Padua reassures Bento of his own genuine friendship and ongoing support. He offers the hospitality of his house in the future, emphasizing his sincerity, and then requests a token of remembrance from Bento, who surprises him with a lock of his hair. Padua appreciates the thoughtful gift, displaying genuine emotion as he bids farewell to Bento with tears in his eyes.

One morning, Bento sets off for the seminary, bidding farewell to his family and acquaintances. Cousin Justina, appearing stoic, provides support, while Uncle Cosme playfully envisions Bento returning as a Pope. José Dias, mostly silent, had a previous conversation with Bento, encouraging him to endure the seminary for a year before considering other options. José Dias emphasized his previous idea of arranging his studies in Europe. Bento proposed studying medicine locally, which José Dias rejected due to his opposition to the subjects taught at local schools. At the farewell, José Dias urges Bento to persevere for a year, assuring him that by then, everything will be arranged.

Bento reflects on the varied fates of his former seminary colleagues. He mentions one colleague who gained praise for a written piece titled Panegyric of Saint Monica. Bento encountered him once, after they left the seminary, and they fondly remembered their seminary days. Bento’s former classmate wondered if he has a copy of his work, and despite Bento asserting its loss, he speedily delivers an extra book to his house the next day. As they leaf through the aged text, Bento pretends to recall the work, complimenting his colleague.

Bento recalls the beginning of his own writing journey and a failed attempt at composing a sonnet during his seminary days. He spontaneously conceived the first and last verses but struggled to craft the remaining lines. To avoid writing about Capitú, he explored alternative themes like justice, liberty, and charity. Bento regrets being unable to complete it, despite various attempts and alterations, and offers the existing verses to anyone who wishes to complete it.

Examining his former classmate’s book triggers memories of Bento’s other seminary colleagues. He recalls Escobar and describes his peculiar traits and reflective nature. He openly shares personal stories and gradually gains Bento’s confidence, breaking through his initial shyness. Over time, Escobar becomes Bento’s confidant.

Still reflecting on the memories and sensations his former colleague’s book triggered, Bento recalls a particular story. He opts to postpone the tale to a later chapter, presenting the current one as a prelude to it. Bento underscores the significance of preparation in storytelling, asserting that offering readers a glimpse of events and their proportions in advance enhances the narrative experience.

While returning to the seminary one morning with José Dias, Bento witnesses a lady falling in the street, and her attire captivates him. This incident sparks an intense fixation on women’s stockings and garters, even infiltrating his dreams. This obsession persists, leading him to make a pact with himself, treating these visions as embodiments of vices and viewing them as a method of mental training to fortify his character.

Reflecting on the intricacies of memory, Bento acknowledges his own shortcomings, emphasizing he only grasps scattered details. According to him, continuous exposure and repetition are the optimal means for engraving memories, a privilege those who stay in a consistent environment enjoy. The ever-changing nature of his own life led Bento to be forgetful at times, even though he admires the ability to retain detailed memories.

However, Bento argues that forgetfulness holds a narrative advantage. To him, a confused book is beyond repair, while books with omissions offer readers a chance to fill gaps with their imagination. He emphasizes that everything omitted in a book can be found outside its pages and encourages readers to engage imaginatively with his own narrative.

Bento provides insight into the rationale behind the disjointed nature of the preceding three chapters. Bento incorporated these elements into the narrative after injecting his imagination to fill its gaps. The diverse topics—Escobar, the sonnet, and the street incident—are all tangentially related to Bento’s reflections on his colleague’s book. Despite their apparent lack of direct connection, Bento underscores the significance of seemingly trivial details in enriching a narrative by providing both color and context.