Dom Casmurro

Bento explains his motivations for writing Dom Casmurro. In rekindling memories of his youth, Bento attempts to reconcile with his past. In his old age, Bento lives alone with a servant in a faithful replica of his childhood home. The house boasts elaborate decorations and medallions bearing the names of emperors. He enjoys the tranquility within his home, which contrasts with the noise and restlessness of the world outside.

While reflecting on his solitary existence, Bento contemplates the friends he has lost and the fleeting nature of relationships in his current life. In search of a new purpose, Bento decided to write a book. He contemplated different subjects, ranging from writing a history of the suburbs to exploring jurisprudence, philosophy, or politics, ultimately choosing to revisit his memories.

The narrative shifts back to 1857. The Santiago family engages in a discussion about Bento’s (“Bentinho”) future. José Dias, who is dependent on the family, approaches Bento’s mother, Dona Gloria, expressing his concerns regarding Bento’s close friendship with Capitú, the 14-year-old daughter of the neighboring Padua family. He believes that their growing bond may pose a threat to Dona Gloria’s long-standing promise to have Bento become a priest.

Dona Gloria is surprised but reassured that Bento and Capitú, being so young, are unlikely to be romantically involved. However, the conversation leads Dona Gloria to contemplate expediting Bento’s enrollment in the seminary. Uncle Cosme dismisses José Dias’s concerns and, along with Cousin Justina, joins in comforting Dona Gloria as she becomes emotional.

Bento discreetly observes José Dias as he retrieves a backgammon board from another part of the house after the family discussion. Bento emphasizes José Dias’s distinctive appearance and his eccentric style. José Dias is a thin, balding man with a somewhat outdated and peculiar sense of fashion who Bento believes is methodical and meticulous in his demeanor, being deliberate even in the pace of his walk.

Bento reflects on how José Dias originally presented himself as a homeopathic doctor and cared for the overseer and an enslaved woman at his late father’s plantation in Itaguahy. Although José Dias initially refused compensation for his services, Bento’s father convinced him to stay, offering him food and lodging instead. Later, José Dias admitted his lack of medical expertise, but the family retained him as by then he had become an indispensable figure in their lives. Following Bento’s father’s death, he received a modest legacy and acknowledgment in his will. Over time, José Dias earned authority and respect within the family, which he held in the highest regard.

After Bento’s father passed away, Uncle Cosme, Dona Gloria, and Cousin Justina, all widowed, lived together in the Santiago household. Uncle Cosme is a heavyset criminal lawyer, once known for his romantic and political fervor, but who now concentrates on his legal work and occasionally enjoys games of backgammon during his leisure time.

When Bento was nine years old, Uncle Cosme tried to teach him horseback riding at the family’s old country house. Young Bento was terrified and began shouting for his mother, who rushed to his aid, deeply concerned for his safety. Despite this early attempt, Bento only learned how to ride much later in life, driven by the embarrassment of not having acquired the skill earlier.

After her husband’s passing, Dona Gloria chose to remain in their house in Rio de Janeiro instead of joining her family in a neighboring state. At the age of 42, she maintains her beauty and youthfulness despite the somber, unadorned clothing she wears as a sign of mourning, and spends her days actively managing the household.

In his later years, Bento keeps portraits of both his parents in his present home. Although he doesn’t have vivid memories of his father, he views his parents as the utmost example of a loving and fortunate couple. He contemplates the nature of conjugal life, likening it to both a lottery and Pandora’s box. Despite the challenges that come with marriage, he maintains the belief that it is ultimately a source of hope and happiness. Whenever he questions this belief, he finds comfort in his parents’ portrait and their enduring happiness throughout the years.

Bento reflects on the day José Dias discussed his relationship with Capitú with his mother. He considers this day as the true beginning of his life, comparing the years leading up to it to the preparation and overture of an opera. The metaphor of life as an opera was drawn by one of Bento’s acquaintances, an old Italian tenor named Marcolini, and the narrator alludes to a forthcoming, detailed explanation of it in the subsequent chapter, suggesting that it’s worth exploring in more detail.

Marcolini firmly believes that life can be likened to an opera, a metaphor he shares with Bento in the form of a story. In this story, Satan, expelled from Heaven, discovers the abandoned opera libretto God wrote and completes the score. God initially refuses to listen to it but eventually permits its performance on Earth, creating the planet as a special theater for the opera. However, imperfections mar the opera, owing to God’s absence during the rehearsals. Some argue that this dissonance adds beauty and prevents monotony, while others claim that the opera’s score corrupts the true essence of the words. Marcolini conveys that both God’s absentmindedness and Satan’s rebellious nature contributed to the imperfections in the “opera of life,” and he believes that the opera will endure and remain a topic of intense debate for as long as the theater exists.

While initially hesitant to fully embrace Marcolini’s tale comparing life to an opera, Bento, in his old age, recognizes the theory’s plausibility and how it resonates with his own life experiences. He advocates for the narrative to return to past events, pinpointing the day José Dias suggested his involvement with Capitú to his mother as part of his personal “opera,” which was then already underway.

Bento discusses a plan his mother made for his future before his birth. After losing her first child to stillbirth, Dona Gloria made a solemn vow to God that if her second child survived, he would be destined for the priesthood. This well-kept secret, concealed even from her husband, left a profound mark on Bento’s upbringing and early education, steering him toward a life devoted to the church. The subject slowly disappeared from family discussions, and Bento thought the idea had been forgotten. However, after overhearing José Dias expressing concerns about what could jeopardize his path to priesthood, Bento realizes that his mother’s plans are still in place.

Following the family conversation about him and Capitú, Bento experiences a profound realization of his feelings towards her. He stands on the veranda with a racing heart, recalling their past compliments and affectionate gestures. Capitú often praises Bento, calling him handsome and caressing his hair, while Bento reciprocates with compliments about her beauty. Bento reflects on these past interactions with a newfound awareness of his love for Capitú, and this revelation leads to a constant preoccupation with her. From then on, Bento becomes highly sensitive to discussions about Capitú. In the end, he acknowledges that José Dias played a pivotal role in helping him understand his own feelings.

Upon hearing Capitú’s mother calling for her, Bento ventures into their yard and finds Capitú carving something on a wall. Capitú appears nervous when she notices Bento’s presence. Unable to express his true feelings, Bento mentions he has some news, but he hesitates and begins inspecting the writing on the wall Capitú is now trying to hide. He wants to read it, but Capitú tries to scrape the writing off the wall, fueling his curiosity.

Bento discovers the inscription on the wall is that of their names carved together. Capitú appears apprehensive. Silently, they extend their hands towards each other and interlock their fingers. Bento admires Capitú, and even though they don’t speak, their feelings for one another are evident.

Capitú’s father suddenly arrives, prompting her and Bento to release their hands. In a brief exchange with her father, Capitú offers an excuse for what they were doing, saying they were playing a game. She then goes to talk to her mother, leaving her father and Bento alone. Bento wants to tell Capitú about his mother’s unwavering desire for his priesthood, but he stays and continues talking with Capitú’s father, who remarks on his daughter’s mature appearance and steers the conversation towards the various birds he keeps.

João Padua, Capitú’s father, resides with his wife, Dona Fortunata, and their daughter in a two-story house adjacent to the Santiagos. He works at the War Ministry and, despite his modest income, owns his home thanks to a lottery prize he won. However, Padua once indulged in a lavish lifestyle when he was appointed interim administrator in his department. This period of financial security ended abruptly when the regular administrator returned after almost two years away. The loss of his new position filled Padua with intense shame, driving him to suicidal ideation. Dona Fortunata, deeply concerned for her husband, sought help from Dona Gloria, who spoke to him of his obligations to his family. Over time, Padua not only overcame his initial feelings but started to take pride in his past role, often mentioning it in conversations.

The narrative digresses as Bento contemplates the origin and meaning of a biblical passage and the mythology of Achilles. He delves into the study of old books and attempts to seek answers from bookworms that have gnawed on these texts. However, the worms provide little insight, stating that they gnaw without knowledge of the books’ content.

Bento tells Capitú of his mother’s plan for his priesthood and emphasizes his determination to resist her wishes. Capitú, initially shocked, turns to criticizing Dona Gloria’s religious fervor. This sudden outburst surprises and offends Bento, as he had always believed in their close bond. Capitú suggests an alternative approach: Rather than directly confronting his mother, Bento should enlist José Dias as a mediator. Bento is skeptical at first but eventually agrees to the plan.

While arriving home at night, Bento contemplates how to approach José Dias. He carefully formulates the words to use, aiming to be not too assertive or too submissive. Bento feels a sense of ownership over the house and acknowledges that, as José Dias is their dependent, he can help thwart Dona Gloria’s plans.

Bento resorts to prayer to address his current dilemma, vowing to recite a thousand paternosters and a thousand Ave Marias if he can enlist José Dias’s support in averting his enrollment in a seminary. He believes that by making such a grand pledge, he can compensate for his previous unfulfilled promises to the divine.

Bento meets Cousin Justina on the veranda, where she shares details of the conversation between José Dias and Dona Gloria. Cousin Justina suggests that without José Dias bringing up the promise of Bento’s priesthood, she might eventually forget it. Bento asks for Cousin Justina’s assistance in changing his mother’s mind, but she refuses to intervene unless directly asked for her opinion.

During his conversation with Cousin Justina, various topics come up before she eventually discusses Capitú. She mentions Capitú’s beauty and positive qualities, and Bento unconsciously confirms her praises. As the conversation progresses, Cousin Justina changes her tune and mentions Capitú’s slyness. Bento reflects on this shift, at first entertaining the idea that Cousin Justina could be jealous. However, he quickly dismisses this notion due to their age difference. Instead, he speculates that the conversation evoked memories of Cousin Justina’s own past experiences.

Bento carries out Capitú’s plan and arranges to meet José Dias the following day. From Bento’s tone, José Dias senses that the topic of conversation is important but doesn’t press for details. They decide to take the bus and meet in a public park.

Bento reflects on the dual role that José Dias plays in his life, acting as both a motherly figure and a diligent servant. José Dias has helped with Bento’s education, assisting with his studies and language skills, among other tasks. José Dias consistently showered Bento with praise, often referring to him as a prodigy.

Bento and José Dias take a stroll in the public park, discussing various matters. José Dias expresses his disapproval of the Padua family, cautioning Bento not to associate with them given their reputation and class difference. José Dias criticizes Capitú for her sly and conceited nature, as well as her smooth-talking ways.

He seeks José Dias’s help in dissuading his mother from her plan. José Dias reacts with surprise and avoids giving a direct response, emphasizing his concern for Bento’s happiness. He says he is unable to deter Dona Gloria from her long-held ambition and falsely claims that she recently expressed to him her desire to send Bento to the seminary. Bento, although angered by the lie, refrains from confronting José Dias directly to avoid revealing he overheard their conversation. Instead, he insists it’s not too late for José Dias to assist him.

José Dias appears to have a sudden idea that uplifts his spirits. He supports Bento’s desire to study law and offers to talk to Dona Gloria to try and sway her decision. He suggests that Bento should study abroad, highlighting the exciting prospects of travelling to Europe. José Dias harbored a long-held aspiration to go back to Europe, a topic he brought up frequently with Dona Gloria and Uncle Cosme, even though he never succeeded in convincing them to go. His ulterior motive becomes evident as he discusses accompanying Bento to Europe—an unexpected opportunity that greatly appeals to him.

Bento and José Dias encounter a beggar on their way out of the park. While José Dias continues walking, Bento gives the man two pennies and asks him to pray for all his desires to come to fruition.

On their way home, José Dias experiences a notable change in behavior. Fueled by excitement, he becomes restless, eagerly participating in various activities and conversations. However, he abruptly reverts to his usual composed demeanor, speaking deliberately and in a seemingly calculated manner. Bento, suspicious of this sudden change, becomes concerned that José Dias has had a change of heart. To reconcile, Bento tries to regain his favor with affectionate words and gestures until they board a bus.

While on the bus ride home, Bento and José Dias encounter the Emperor’s coach returning from the School of Medicine. As customary, all vehicles stop, and passengers disembark, paying their respects by standing as the imperial coach passes. After reboarding the bus, Bento immerses himself in a daydream where he meets the Emperor. In this vivid fantasy, he convinces the monarch to intervene on his behalf and persuade his mother not to send him to the seminary. He envisions his mother consenting and opting for him to study medicine, as per the Emperor’s request.

While on a bus, Bento and José Dias hear a church bell announcing a religious procession and decide to join the service. Padua unexpectedly arrives as the sacristan begins preparations. José Dias is annoyed by Padua’s presence and a dispute arises between them over who should carry the last canopy poles available. Insisting that both he and Bento, whom he calls a seminarist, should be the pole bearers, José Dias stirs Bento’s anger and makes Padua concede.

The procession evokes strong emotions in Bento, leading him to tears. Seeing a sick woman’s daughter weep triggers thoughts of his mother and Capitú. However, his mood then shifts to joy as he recalls Capitú’s inscription and reflects on the lively atmosphere of the procession.