At the heart of Dom Casmurro is an exploration of the dangers and torments of jealousy. Throughout the novel, Bento presents a fixed interpretation of Capitú and her actions, crafting a narrative that is aprioristic in nature. In Chapter 72, “A Dramatic Reform,” Bento suggests that dramas should begin at the end, exposing the concluding events, and only then exploring the leading causes. This proposition mirrors Bento’s own approach in Dom Casmurro, where he establishes with conviction Capitú’s infidelity and then narrates events in his past that specifically support this notion. As Bento recounts the birth, flowering, and failure of their love affair, he inadvertently reveals how his jealous and controlling nature destroyed his domestic life.

While the first chapters explore the beginning of Bento and Capitú’s connection, Bento, as the narrator, interjects to cast a shadow of suspicion over seemingly naïve interactions. Bento’s criticism of Capitú’s adolescent behavior suggests that his understanding of her has evolved over time. He links Capitú’s ability to compose herself under pressure to a talent for deception: “There are things that one learns late. One must be born with them to do them early” (31, emphasis added).