Час від часу Діккенс залучає приклади з творів інших письменників, легенд і міфів, порівнює своїх персонажів з відомими історичними особами. Так, Соломон Джілс у своїх філософських роздумах звертається до твору Д.Свіфта: "... not being like the savages who came on Robinson Crusoe's island, we can't live on a man who asks for change for a sovereign" [3, 41]. Сюзанну Ніппер Діккенс порівнює з персонажем Олівера Голдсміта ("She Stoops to Conquer"): "But Susan, who was personally disposed in favour of the excursion, and who (like Tony Lumpkin), if she could bear the disappointments of other people with tolerable fortitude, could not abide to disappoint herself, threw so many ingenious doubts in the way of this second thought." [3, 62]. Містера Турбота автор називає ім'ям Кетча. Така алюзія не випадкова, вона слугує характеристиці образу Турбота-управителя з огляду на те, що містер Кетч був відомим у 1690-их роках катом: "Nothing doubting now that the stranger, if not Mr Ketch in person, was one of the company" [3, 287].

Привертає увагу і часте вживання Діккенсом риторичних питань і риторичних звертань: "Turn we our eyes upon two homes$ not lying side by side, but wide apart, though both within easy range and reach of the great city of London." [3, 435], "Oh blessed time! Oh wandering heart at rest! Oh deep, exhaustless, mighty well of love, in which so much was sunk!" [3, 726], "Did he see before him the successful rival of his son, in health and life? Did he look upon his own successful rival in that son's affection? Did a mad jealousy and withered pride poison sweet remembrances that should have endeared and made her precious to him? Could it be possible that it was gall to him to look upon her beauty and her promise: thinking of his infant boy!" [3, 239].

Повтор в мові персонажів твору допомагає авторові краще довести те, що стверджується: "Our friend is sly, sir. Sly. Sir, de-vilish sly!" [3, 338], "No, no, not quite" [3, 442], "Hear, hear!" says the major in a tone of conviction" [3, 414]; підкреслює напруженість моменту:

"Why didn't money save me my mamma?" returned the child. "It isn't cruel, is it?"

"Cruel!" said Mr Dombey, setting his neckcloth, and seeming to resent the idea. "No. A good thing can't be cruel".

"If it's a good thing, and can do anything", said the little fellow, thoughtfully, as he looked back at the fire, "I wonder why it didn't save me my mamma" [3, 91]; свідчить про авторську оцінку вчинків героя:

"Let him remember it in that room, years to come!" He did remember it. It was heavy on his mind now, heavier than all the rest.

"Let him remember it in that room, years to come! The rain that falls upon the roof, the wind that mourns outside the door, may have foreknowledge in their melancholy sound. Let him remember it in that room, years to come!"

He did remember it. In the miserable night he thought of it; in the dreary day, the wretched down, the ghostly, memory-haunted twilight. He did remember it. In agony, in sorrow, in remorse, in despair! "Papa! papa! Speak to me, dear papa!" He heard the words again, and saw the face.

Oh! He did remember it!.. He knew, now, what he had done. He knew, now, that he had called down that upon his head, which bowed it lower that the heaviest stroke of fortune. He knew, now, what it was to be rejected and deserted.

He thought of her as she had been that night when he and his bride came home. He thought of her as she had been in all the home events of the home events of the abandoned house. He thought, now, that of all around him, she alone had never changed" [3, 771].

При описі будинків Турбота-управителя і Турбота-молодшого акцентується увага на різному соціальному статусі героїв. Таке протиставлення дозволяє краще уявити характери братів: "The first is situated in the green and wooded country near Norwood. The lawn, the soft, smooth slope, the flower garden, the clumps of trees where graceful form of ash and willow are not wanting, the conservatory, the rustic veranda with sweet-smelling creeping plants entwined about the