ANIMATING HOUSEHOLD GODS: VALUE, TOTEMS, AND KINSHIP IN VICTORIAN ANTHROPOLOGY AND DICKENS'SDOMBEY AND SON

Abstract

At the heart of Dickens'sDombey and Son (1846–48) is a woman who is both the central problem that the narrative seeks to manage and its solution to that problem. Florence's position as heiress to Dombey and Son enables her entry into the marketplace as an independently wealthy woman who disrupts the patriarchal transmission of property and money. Dombey and Son diverts attention from Florence's position as heiress by providing a sentimental lesson on the economic importance of the domestic woman, who grounds intrinsic value and is essential to the reproduction of the patriarchal family and economy. Dombey's domestic and financial failures, the novel would have us believe, stem from his initial devaluation of Florence and overvaluation of Paul. Hence, at the novel's close, Dombey learns that the foundation of the family and firm is not a son but “a Daughter after all.” Dickens thus presents Florence's intrinsic value and inalienability as the resolution to the very problem of alienability and unstable values that her position as heiress encodes. Yet this lesson regarding Florence's value conceals the novel's central anxiety, what Robert Clark refers to as “the arbitrary taboo on women's participation in the economic order” (73). If the novel accords insubstitutable value to the domestic woman as the keystone of the family and economy, it does so to dramatize the threat posed to patriarchal structures of kinship, property, and capitalist expansion if all women were to enter the marketplace and become, in a sense, heiresses.