Bentinho’s ambivalence within the chapter “Stage Manager” depicts the setting’s nourishment of his jealousy. As Bentinho walks home, from watching Othello, he notices Capitu watching a horseman on the street. Inspired by love, Bentinho believes the horseman to be on his “way to see [his] sweetheart” (135). At this moment Bentinho does not put any malice on Capitu since “it was natural to look at elegant passers-by” (136). However, mid way through his sentence Bentinho states “this fellow usually passed that way in the afternoon” (136). Bentinho’s thoughts are taken over by malice over the fact the horseman traveled in the afternoon. Machado’s mention of the “afternoon” becomes significant considering the twilight happens then: a moment where darkness takes over light. Through the afternoon metaphor Machado illustrates the victory of his dark side within himself. Consequently, Bentinho concludes that since the horseman lived in “the old Campo da Aclamacao, and then … and then…” (136). The ellipsis used by Machado symbolizes Bentinho’s reluctance to admit his jealous thoughts. However, considering that he later asks the reader to “reason with a burning heart” (136), like his, the metaphor once again illustrates the absence of rationality upon his thinking. Therefore, once Bentinho is taken over by jealousy he becomes unable to rationally ponder upon situations.
Bento’s paranoia allows for jealousy to alter his view of Capitu’s arms from admiration to discomfort. At a ball Bento confesses his admiration for Capitu’s arms, mentioning that they “were probably still in the marble they came from, or in the hands of the divine sculptor” (183). The allusion to God as the creator emphasizes her arms’ magnificence. However, once other people admire her arms, Bentinho becomes “embarrassed and annoyed” (183). The alteration of his contemplative to irritated tone towards Capitu’s arms as illustrated by the diction “embarrassed and annoyed” reflects Bentinho’s insecurity and a manifestation of jealousy. However, Bentinho’s apprehension leads him to wonder about the validity of his feelings. While talking to Escobar about how indecent Capitu’s arms were Bentinho asks, “don’t you think so?”(183) The question reveals Bento’s own hesitation with his ideas since he needs Escobar’s approval in order to carry forward his ideas. Therefore, in the passage Machado emphasizes jealousy to portray the dangerous manifestations of doubts within Bentinho.
Capitu’s distraction with the sea leads Bento to draw delusional observations symbolizing his insecurity in the relationship. Upon Bento finding out that Escobar and Capitu had been together alone to exchange money his jealousy increases. “Capitu’s inattention” to Bento ultimately leads to him “[becoming] jealous of the sea” (186), an absurdity caused by the irrational thinking that controls him. However, to Bento the sea becomes a symbol for his fear over “what might have been in [his] wife’s head” (186), since the same way that the sea has deep currents that can’t be seen from the shore perhaps his wife was thinking about other man. His terrified tone further characterizes insecurity over the relationship, which leads him to “[grow] even founder of Capitu” (187). Therefore, in order to eliminate Capitu’s possible considerations for other men, Bentinho further commits himself in the relationship believing more love will eradicate his jealousy.
Throughout the book Machado de Assis uses the motif of jealousy to move along the plot, since Bento’s irrationality creates the drama in the novel. However, Macho has the deeper intention of warning readers of the problems caused by having decisions made entirely from emotions. Through the increase of jealousy within Bento, Machado illustrates the distress jealousy causes, even though Bento never proves his assertions. In the end the lack of validity of Bento’s claims symbolize that a person will always find a problems if they seek one, however, they will not necessarily find its answers.
Word Count: 818
