Dombey and Son, published in 1848, draws from popular literature influenced by folklore, contemporary melodramas, and traditional pantomime. It incorporates numerous songs, particularly those celebrating maritime themes, as well as elements from fairy tales and ancient myths, such as those of Argus and the Cyclops.

These influences are presented without their original burlesque or solemn themes, instead being enriched with moral and spiritual depth. The narrative retains familiar structures, featuring characters who undergo trials, face potential deaths, and encounter opportunities for rebirth. This aligns with the novel's themes of punishing the wicked, subtly rewarding the virtuous, and redeeming the protagonist, Mr Dombey. Through a journey of self-reflection and the challenges imposed by fate, Mr Dombey ultimately confronts his flaws and discovers a path toward enlightenment.

The serious elements of the novel often adopt a playful tone, allowing Charles Dickens to integrate aspects of comedy and satire. This is exemplified by the diverse cast of characters, who serve as subjects of his wit and critique.

Popular stories Charles Dickens is often noted for maintaining close connections with the people of his early life, frequently visiting the streets of London and Chatham, where he became acquainted with local peddlers. A prominent example of this is his friendship with the ballad seller Silas Wegg. Dickens collaborated with a small theatre troupe, primarily composed of family members and a few close friends, to stage pantomimes and playlets featuring travelling actors or clowns.

Legend of Dick Whittington

In his correspondence, Dickens highlighted that the relationships among the main characters and the accompanying imagery in his works are influenced by the legend of Dick Whittington, a tale that had been popularized in modern theatre..

The characters of Susan Nipper and Walter Gay in Dombey and Son are inspired by contemporary plays: Black-Eyed Susan from 1829 by Douglas Jerrold, and Dick Whittington and His Cat by Albert Smith respectively. The legend of Dick Whittington, who became Lord Mayor of London, dates back to the 17th century and was particularly prominent when Dickens was developing his novel. Smith introduces original characters into the legend, including a fierce cook reminiscent of Susan Nipper and an ambitious hypocrite similar to Carker, who gains the trust of his employer, Mr Fitzwarren, to further his schemes..

Walter Gay serves as a "counterpoint to Dick Whittington". Although direct references to the legend are infrequent, they are strategically woven into his narrative. Like Whittington, Walter is an orphan navigating the business world with optimism, yet he encounters persecution and conspiracy. However, the novel diverges from the legend as Dickens’ protagonist ventures to sea and marries Florence, whereas in Smith's adaptation, Whittington's cat is sent off to sea while he remains a victim of misfortune. Whittington's only solace is found in the church bells of Bow, which celebrate the cat's success in ridding a kingdom of rats and acquiring wealth.

Mr Dombey bears a strong resemblance to Fitzwarren, as both are driven by mercantile obsession, leading to familial neglect. Florence parallels her ancestor, Alice, forming a friendship with Susan Nipper and seeking comfort from the household's cantankerous maid. Additionally, Solomon Gills briefly references the famous Bow bells in Dombey and Son, while the rats return in a "reversed role", fleeing at the first sign of danger, which symbolizes Dombey's impending downfall. The imagery of cats also resurfaces in the character of Carker, accumulating feline associations throughout the narrative.

Jolly Jack Tar Stereotype

Jack Tar (also spelled Jacktar, Jack-tar, or simply Tar) originally referred to sailors in the Merchant Navy or the Royal Navy, particularly during the height of the British Empire's expansion, and later came to identify all seafaring people. The term is often associated with the sea shanty "Jolly Jack Tar", which portrays a confident young sailor who overcomes significant challenges, marries the admiral's daughter, and concludes his story with a patriotic finale.

In Dombey and Son, numerous nautical references draw from the small world of "The Wooden Midshipman", particularly concerning the character Walter Gay. Solomon Gills's shop is depicted as an unsinkable ship navigating the currents of the City, with the small back parlour serving as the captain's quarters. Dickens describes Walter Gay as "the most wooden of midshipmen", reflecting both his character and the nautical theme. The name "Gay", closely linked to Susan Nipper in the early chapters, evokes John Gay, the author of the popular sea shanty "Sweet William's Farewell to Black-Eyed Susan" (1720), as well as a melodrama by Douglas Jerrold that was well-received during the period.

Walter Gay's ballad takes the form of a dramatic duet between William, a generous and loyal foresail sailor, and Susan, the innocent young woman he must leave behind as duty calls. This narrative employs several traditional genre clichés, such as the contrast between steadfast love and the unpredictable sea, the union of the delicate young lady and the gruff sailor, and the notion that love ultimately triumphs over adversity. In contrast, Douglas Jerrold's melodrama emphasizes the bride's humble domestic life and the unjust hardships endured by the sailor.

Many characters and relationships from Jerrold's work are reflected in Dombey and Son. For instance, the merchant Doggrass embodies Mr Dombey's reduction of human relationships to mere market shares; he alienates his daughter and consigns the hero to distant lands, leading both to a profound solitude. However, the novel diverges by ultimately redeeming the lost merchant through his child and attributing Walter's modest success to his virtues. Walter's relationship with Florence replaces the fallen father, establishing firm spiritual foundations in the City.

Certain traits, while often adapted, align Dombey and Son with the conventions of nautical melodrama. For example, Susan Nipper marries Mr Toots, who resembles Gnatbrain from the fable, while Florence shares characteristics with Dolly Mayflower, marked by her cheerful demeanour and flowery name. Walter Gay is supported by his "crew", Solomon Gills and Captain Cuttle, whose joyful spontaneity echoes the traditional chorus of sailors. Additionally, Cuttle's enthusiastic incoherence, punctuated by verbal outbursts drawn from the Book of Common Prayer and the repertoire of sea shanties, adds to this nautical atmosphere.

Theatrical Cliché Reformulated into Myth

In Dombey and Son, Charles Dickens examines the contrasts between sea and land, sailors and landlubbers, and humanity and materialism. In the early chapters, the Dombey house, anchored to the ground yet commercially dependent on maritime trade, stands in stark opposition to Solomon Gills's shop, which, while entirely oriented toward the sea, is situated within a bustling market environment. Metaphorically, the Dombey house appears to be a conqueror, looking confidently toward the future, yet it is ultimately destined for failure. In contrast, Gills's shop, though fragile and seemingly obsolete, serves as a resilient vessel of the human spirit, navigating the challenges of commercial life..

Materialistic values are portrayed as vulnerable to the whims of fortune and change, tethered to the City and fashionable locales such as the spa town of Leamington, the seaside resort of Brighton, the resort of Bath, or the dangerous Paris. Conversely, human solidarity is associated with those guided by the navigation instruments of life toward prudence, humility, and altruism, or with those who, cast upon the reefs of adversity, find refuge in what may seem a barren desert but is, in fact, an oasis of kindness and salvation.. Characters like Solomon Gills, Captain Cuttle, Florence, Walter, Susan, Toots, and even Mr Dombey ultimately discover their way to an "island of compassion." Thus, the sea serves as a constant backdrop in the novel, rich with symbolic connotations. John Hillis-Miller observes that “the sea of death [...] is the authentic symbol of a nonhuman power whose chief characteristics are reconciliation and continuity”, suggesting that it represents a realm beyond earthly existence where the reciprocity of love becomes possible.

The death of the first Mrs. Dombey is metaphorically described as a shipwreck, with the dying woman finding hope in "the light she clings to", representing her love for her daughter, Florence. Similarly, Mr Dombey perceives the passing of Little Paul, who dies at the age of nine, as the loss of his ship, "The Heir Son", foreshadowing the family's impending financial ruin. For other characters, Little Paul's death symbolizes a journey to the afterlife on a sea of love, a language that he understood and shared only with the eccentric old man from Brighton Beach. Florence, during her honeymoon, also interprets the waves as conveying a similar message, while Solomon Gills reflects, "Some of our lost ships [of his nautical instruments], freighted with gold, have come home, truly".

Throughout the novel, nearly all characters embark on a metaphorical voyage on the waves before returning to shore, establishing a clear contrast: the materialists - such as Dombey, Carker, Alice Marwood, and Edith Granger - inevitably face disaster, humiliation, or death. In contrast, humanists, firmly grounded, achieve relative prosperity and happiness through their alignment with authentic moral forces. Dickens skilfully weaves elements of nautical legend and popular melodrama into his narrative. While Albert Smith and Douglas Jerrold sought to create burlesque parodies, Dickens transforms these influences into a parable rich in symbolism and mythical significance without altering the core action.

Fairy Tales and Myths John Forster described Dombey and Son as a "fanciful rendering of reality", using "fanciful" to imply an imaginative quality., Some critics refer to Dickens's novels as realistic fairy tales. Forster also noted that "no one felt a more intense affection than [him] for nursery rhymes and tales, and that he felt a secret delight in thinking that he conferred on them a nobler status by his art."

Fairy Tales

Dickens draws extensively from popular culture, including tales, ballads, and songs. In "The Christmas Tree", an autobiographical narrative that Simon Callow finds "almost Proustian", Dickens writes, "Little Red Riding Hood was my first love. I feel that, if I could have married her, I would have known perfect happiness." This admission intrigues Bruno Bettelheim, who, in The Uses of Enchantment, comments: "Even when world-famous, Dickens acknowledged the deep formative impact that the wondrous figures and events of fairy tales had had on him and his creative genius [...] Dickens understood that the imagery of fairy tales helps children better than anything else in [...] achieving a more mature consciousness to civilize the chaotic pressures of their unconscious."

Florence Dombey is often likened to Cinderella, living under her father's strict authority. Bruno Bettelheim notes that the final part of the novel makes subtle references to the iconic slipper from the fairy tale, particularly in the description of their wedding morning in Chapter 57. As Florence and Walter walk to the church, they choose "the quietest streets", and the narrator captures their happiness by stating, "Not even during their ancient childish stroll were they farther from the surrounding world. The feet of the children of yesteryear did not tread on the ground as wonderful as the one they tread on today." Bettelheim discerns a significant echo in the imagery of steps and feet, though his psychoanalytic interpretations may invite debate.