Dom Casmurro

“One day, a number of years ago, I decided to reproduce in Engenho Novo, the house in which I grew up on old Rua de Matacavallos. It was to have the same appearance and plan as the other house, which had disappeared.”

Bento’s meticulous recreation of his childhood home symbolizes his attempt to reconcile with the past and recapture a sense of lost grandeur (See: Symbols & Motifs). The house represents the stark contrast between past and present, embodying the gulf between Bento’s happy youth and his isolated old age.

“It was then that the busts painted on the walls spoke to me and said that since they had failed to bring back the days gone by, I should take my pen and tell over those times. Perhaps the act of narration would summon the illusion for me, and the shades would come treading lightly, as with the poet, not the one of the train but Faust’s: Ah there, are you come again, restless shades?”

Bento’s desire to summon the illusion of the past through storytelling underscores his desire to reconcile with the events in his life that still torment him. Much like Faust’s shades, Capitú’s supposed infidelity still looms over Bento in his later years. Thus, narrating his account becomes a means for Bento to affirm his perspective on events. The quote also aligns with the motif of the home, highlighting the significance of Bento’s physical surroundings and their connection to the past (See: Symbols & Motifs).

“Life is an opera and a grand opera.”

The statement here reveals that, like an opera, narrative is open to interpretation, with multiple—and often conflicting—perspectives. The dispute between God and Satan in the story Bento’s friend tells challenges the notion of a singular, authoritative narrative voice and invites readers to consider the dynamics of Perception and the Nature of Truth.

“There are things that one learns late. One must be born with them to do them early.”

Bento’s assertion suggests that certain traits, like deceit and persuasiveness, are inherent and immutable. This belief contributes to his fixed interpretation of Capitú’s character, emphasizing the aprioristic nature of his narrative. Bento’s inclination towards The Torments of Jealousy ultimately leads him to see in Capitú’s past behavior proof of her later alleged infidelity.

“‘My dear sir,’ replied a long fat worm, ‘we know absolutely nothing of the texts we gnaw, nor do we choose what we gnaw, nor do we like or dislike what we gnaw: we gnaw.’”

The worms, gnawing at old texts, yet failing to report their meaning to Bento, serve as a metaphor. They represent the inherent challenge in extracting a clear and objective truth from memories that time and personal bias have distorted, invoking Perception and the Nature of Truth.

“I do not find that I was ridiculous: adolescence and childhood are not, in this respect, ridiculous; it is one of their privileges […] At fifteen, there is even a certain grace in making many threats and carrying out none.”

Bento takes a lenient perspective when he evaluates his past behavior, recognizing the inherent nature of adolescence and excusing his own foibles. This forms an important contrast to his more critical stance when evaluating Capitú, highlighting how his conviction in her infidelity clouds his judgement and interpretation of her actions.

“I relate these minutiae to explain what the morning of my little friend was like; soon will come the afternoon, and of the morning and of the afternoon will be made the first day, as in Genesis, where seven were made in succession.”

Bento’s fixed stance on Capitú becomes evident as he seeks to craft an account of their relationship guided by his predetermined convictions. The emphasis on “minutiae” evokes a sense of order and precision in Bento’s attempt to establish a definitive narrative, while his reference to “Genesis” suggests a link between the temptation and fall of Eve and Capitú’s supposed infidelity.

“Did you ever notice those eyes of hers? Gipsy’s eyes—oblique and sly. Well, in spite of them, she could pass, if it were not for her conceit and her smooth talk. Oh, what a smooth tongue she has!”

José Dias’s description of Capitú’s eyes aligns with the novel’s recurring motif (See: Symbols & Motifs). His emphasis on her eyes’ “sly” nature and her “smooth tongue” foreshadows Bento’s later suspicions about Capitú’s deceitfulness in their marriage. Bento presents José Dias’s remarks as evidence that others also shared a sense of doubt regarding Capitú, thereby justifying his own later suspicions.

“Daydreams are like other dreams, they weave themselves on the pattern of our inclinations and memories.”

As Bento weaves the story of Capitú, his daydreams and memories become integral to constructing his version of reality. The subjective nature of daydreams and memories reflects Perception and the Nature of Truth, raising questions about the reliability of his account.

“There is some exaggeration in this, but human discourse is like that, compounded of exceeding great and exceeding small which compensate and offset each other. On the other hand if we understand that the hearing in this case was not that of the ears but of the memory, we will arrive at the exact truth.”

Bento deems his memory the most accurate source of information in arguing for Capitú’s infidelity. This quote reinforces the challenges of the narrative’s accuracy, as memory is an unreliable source of factual information, even as Bento sees it as the most accurate lens through which he interprets his past.

“Well, there is only one way of describing one’s essence: it is to tell it all, the good and the bad. That is what I do whenever I recollect suitable bits for the construction or reconstruction of myself.”

Bento’s assertion here reflects his tendency towards self-aggrandizement, as he actually rarely tells “the bad” about himself without seeking to justify or minimize it. The inherent challenge therefore lies in the impossibility of knowing if Bento’s account of himself is ever genuinely inclusive of his good and bad moments, as they might not suit the particular version of events he wishes to tell.

“And I was filled with a desire to drive my nails into her throat, bury them deep, and watch the life drain out of her with her blood.”

In expressing a violent desire to harm Capitú, Bento showcases the result of intense emotions and The Torments of Jealousy. The quote captures the dark and destructive nature of Bento’s emotions, highlighting the transformation of his initial doubts into a more vehement and dangerous reaction. His desire to control and overpower Capitú physically also reflects the unequal gender dynamics of their society and, eventually, their relationship.

“I had often had these fits of jealousy, wishing to know what might be inside my wife’s head—not outside or above it. It is a known fact that the wandering thoughts of a person can be guilty, half guilty, a third, a fifth, a tenth guilty, since in the matter of guilt the gradation is infinite.”

Bento’s obsessive fixation on Capitú’s thoughts and desire to “know what might be inside [her] head” reflects both The Torments of Jealousy and Bento’s desire for total control over his wife. It also underscores the eyes motif (See: Symbols & Motifs), as Bento’s jealousy is driven by his interpretation of Capitú’s gaze at the sea and the presumed guilt he assigns to her wandering thoughts.

“I’ve even noticed that he has a way of moving his feet like Escobar, and the way he uses his eyes…”

The physical and behavioral similarities between Ezekiel and Escobar are important aspects Bento interprets when questioning the paternity of his son. This observation is crucial to the broader narrative, as it contributes to his growing suspicions about Capitú’s fidelity.

“And yet Sancha’s eyes did not ask for fraternal expansiveness—they seemed sultry and imperious, they said something quite different.”

Bento’s interpretation of Sancha’s gaze ties into his tendency to attribute complex and often unfounded emotions to the characters around him. The quote reflects Bento’s predisposition to see hidden meanings and desires where there may be none, emphasizing his susceptibility to misinterpretation. Sancha’s eyes, in this context, are a canvas for Bento’s suspicions and desires rather than a faithful reflection of her own true intentions.

“There was a moment when Capitú’s eyes gazed down at the dead man just as the widow’s had, though without her weeping or any accompanying words, but great and wide like the swollen wave of the sea beyond, as if she too wished to swallow up the swimmer of that morning.”

In comparing Capitú’s gaze to the sea, the site of Escobar’s death, Bento ties the two characters closer together in his mind (See: Symbols & Motifs). Bento interprets her behavior as potentially suggesting something illicit about her feelings toward Escobar. This key moment prompts Bento’s suspicion, illustrating how his subjective observations shape the narrative’s trajectory and fuel The Torments of Jealousy.

“Not only his eyes, but the remaining features also, face, body, the entire person, were acquiring definition with the passage of time. They were like a rough sketch that the artist elaborates little by little.”

The quote emphasizes Bento’s increasing fixation on Ezekiel’s likeness to Escobar, suggesting a perceptual transformation influenced by his conviction of Capitú’s infidelity. The supposed evolving physical resemblance further entrenches his perception of events.

“When neither mother nor son were with me, my desperation was extreme, and I would vow to kill them both, suddenly or slowly.”

Bento, consumed by jealousy, contemplates extreme actions, including the murder of his wife and son. This passage illustrates Bento’s mental state after he has convinced himself of his wife’s and friend’s betrayal, while also suggesting the dangerous tendencies towards control and violence that lurk within Bento.

“Ezekiel would enter, boisterous, expansive, smiling and full of love, for the little devil kept growing fonder of me. I, on the contrary, now felt an aversion, an aversion I could scarcely conceal from Capitú and the others.”

This quote encapsulates the evolving dynamics within Bento’s family and his shifting feelings towards Ezekiel. His growing aversion toward Ezekiel, which shortly after turns into a homicidal attempt, reveals the rift between his outward behavior and the feelings he harbors.

“The last act showed me that not I, but Capitú ought to die. I heard the prayers of Desdemona, her pure and loving words, the fury of the Moor, and the death he meted out to her amid the frantic applause of the audience. ‘And she was innocent!’ I kept saying to myself all the way down the street. ‘What would the audience do if she were really guilty, as guilty as Capitú?’”

Bento draws a parallel between the tragic fate of Desdemona in Shakespeare’s Othello and the torment he experiences regarding Capitú’s alleged infidelity. In believing that Capitú “ought to die” and comparing her to Desdemona, Bento remains oblivious to the irony of his words: Just as Desdemona was falsely accused of infidelity, there is a strong possibility that he may be falsely accusing Capitú as well.

“And even dead men! Not even the dead can escape your jealousy!”

Capitú, after a prolonged period of enduring Bento’s suspicions and jealousy, finally confronts him with this charged statement. Her words reflect a culmination of suppressed emotions, revealing her frustration and exasperation at being continuously doubted and accused. Her strong protestations of innocence add further doubt to Bento’s version of events.

“And I did not really tie together the two ends of my life.”

Bento’s statement encapsulates his lingering sense of unfulfilled closure and unresolved conflict. It highlights Bento’s struggle to find a conclusive and satisfactory explanation for the events he narrates. Despite his endeavor to craft a definitive account of his life with the novel, the admission of not successfully connecting the disparate elements signifies the inadequacy of his efforts.

“He was the self-same, the identical, the true Escobar. He was my wife’s lover; the son of his father.”

Bento’s entrenched conviction about the truth of Ezekiel’s paternity reflects his unwavering beliefs in Capitú’s infidelity. It showcases how his perception has become deeply ingrained over the years. Whether or not Ezekiel really does resemble Escobar all that closely or whether it is just Bento’s imagination is impossible to determine, raising the issue of Perception and the Nature of Truth.