Greed

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The Hubbards—Regina, Ben, Oscar, and Leo—are consumed by an unending hunger for more wealth, despite already having substantial financial stability from their dry-goods business. Each of them sacrifices their morals in the relentless pursuit of greater riches. The allure of wealth holds a distinct attraction for each member of the family. For Regina, the anticipated millions promise an escape from her small southern town to the glamorous social circles of Chicago and Paris. She is willing to sacrifice her husband to achieve this dream, but in doing so, she loses her daughter's love, ultimately facing Chicago in isolation. Ben, who abandoned his principles long ago, is reminded by Regina, "You couldn't find twelve men in this state you haven't cheated and hate you for it." He treats negotiations with his siblings like a chess game, where the future mill workers are mere pawns, intended to be exploited for low wages. His greed is a goal in itself.

Oscar, lacking Ben's strategic skill and Regina's calm demeanor, occupies a lower position in the family hierarchy. He allows his son to steal Horace's bonds and quickly shifts the blame to Leo when Horace discovers them missing. Oscar indulges in daily hunting excursions, discarding his catch even though the local impoverished black residents need meat. He denies them the chance to hunt, killing for sport and owning land to prevent others from doing so.

Hellman warns her audience that the Hubbards are not only poised to prosper but are also not an isolated case. Ben states, "There are hundreds of Hubbards sitting in rooms like this throughout the country. All their names aren't Hubbard, but they are all Hubbards and they will own this country some day." This greed reflects the mindset of unscrupulous industrialists who infiltrated the New South, promoting a predatory form of capitalism that Hellman saw as a threat to American ideals.

Apathy and Passivity

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Hellman was an activist who actively participated in signing petitions and joining committees advocating for political reform. She was firmly against remaining passive in the face of injustice, a sentiment echoed by the former heroes of The Little Foxes . Addie, who acts as the moral center amidst the Hubbard family's wicked schemes, is more disturbed by the inaction that allows their behavior than by their deeds themselves. She remarks, "Well, there are people who eat the earth and eat all the people on it. Then there are people who stand around and watch them eat it.... Sometimes I think it ain't right to stand and watch them do it." To Addie, the Hubbards are akin to an unavoidable plague, a curse on humanity. She believes that accepting their actions or remaining passive is a test of character that most characters in the play fail. Addie herself also falls short, as her position as a black woman limits her ability to effectively oppose them. She aspires to guide Alexandra so that the young girl might eventually escape the Hubbard's influence. Horace also desires for Alexandra to leave, hoping she will "learn to hate and fear" the Hubbards' malevolent greed. He finds temporary solace at a hospital in Baltimore, but returns too physically and emotionally drained to resist. The shock of discovering his wife despises him and wishes him dead ultimately leads to his demise. Through this narrative, Hellman demonstrates that apathy comes at a great cost—those who do not oppose evil are consumed from within. Horace's heart fails, Birdie turns to alcohol, and both of their lives are ruined by the Hubbards. Their inability to resist allows the evil to persist. Hellman was taken aback when...

(This entire section contains 325 words.)

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audiences sympathized with Birdie's defeated, drunken passivity. She had expected them to scorn her as much as she did: "I just meant her to be...a lost drunk," Hellman commented in a 1958 interview quoted inConversations with Lillian Hellman.

Revenge

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For audiences observing the ruthless scheming of the Hubbards as they vie for wealth and power, the only consolation is witnessing one villain take revenge on another. This play doesn't provide the classic satisfaction of a virtuous hero vanquishing evil with a dramatic act of justice. Instead, it presents a series of small triumphs where one antagonist briefly gains the upper hand, only to be outmaneuvered in the next scene. At the story's peak, Regina skillfully navigates uncertainties, hinting at the possibility of imprisoning Ben, Oscar, and Leo for bond theft. Her ability to devise a successful plan while her husband is dying upstairs marks her as a true villainess, yet her poise and cunning earn her a measure of respect. She also offers the audience the vicarious thrill of watching her deceitful brothers face defeat. The play's so-called heroic figures are too weak to seek justice for their grievances and merely irritate the Hubbards. Horace dies with little notice before he can confront them, Birdie has stopped caring, Addie understands the futility of challenging her subordinate position, and Alexandra chooses to fight her battles elsewhere. Thus, the only satisfaction comes from the shifting power dynamics among the villains as they exact revenge, succeed, and are subsequently toppled. The audience sympathizes with these despicable characters just enough to enjoy their moments of vengeance and their skill in achieving it. One might wonder why Regina and her brothers have such a hostile relationship in the first place. Hellman addressed this in another play. Another Part of the Forest is set twenty years earlier, depicting a father who deceives and betrays his community while degrading his children. Ben manipulates his father into giving him the estate, leaving Regina and Oscar under his control, thus beginning the cycle of revenge that continues in The Little Foxes and would have persisted in a third play had Hellman completed the trilogy.

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