Marriage
The central theme of 'Tis Pity She's a Whore revolves around love and marriage, though Ford does not necessarily equate the two. Florio suggests that his daughter Annabella can choose any suitor she genuinely loves. However, he promotes her union with Soranzo more for financial stability than for emotional connection. Similarly, Richardetto aims to marry his niece Philotis to Donado's foolish but wealthy nephew Bergetto, again prioritizing wealth over love. Ironically, the deep familial bond between the only two characters who truly love each other—Giovanni and Annabella—renders their incestuous relationship unacceptable for societal validation through marriage.

Love
The play showcases various forms of love. First, the evidently forbidden but intense incestuous love—or perhaps lust—between Giovanni and Annabella. Then, there is the adulterous love affair between Soranzo and Hippolita. Richardetto appears neither as a loving husband nor a caring guardian for his niece. Hippolita's affection for Soranzo morphs into a desire for revenge, leading to catastrophic consequences and foreshadowing the tragic end for Giovanni and Annabella.

The narrative also highlights love driven by financial gain, a type of mercenary love. Both Gimaldi and Bergetto seek to marry Annabella primarily for her wealth. Bergetto even touches on the theme of bawdy love through his discussions on prostitution. Additionally, characters like Soranzo and Giovanni discuss the ideals of "Neoplatonic" and "Courtly Love." Their interpretations of these love ideals ironically serve to highlight their flawed characters. Soranzo is caught reciting a courtly love sonnet, which later exposes his uncourtly attitudes towards love. Giovanni's insincere arguments for consummating his incestuous relationship with Annabella partly stem from Neoplatonic philosophies.

Justice
In Ford's tragedy, themes of crime and punishment, law and justice play significant roles. However, the complexity arises from the fact that while the lovers may be morally wrong, no one else in their world seems righteous. The play lacks an ethical standard or a commendable role model. The irony is palpable when, at the play's conclusion, Donado refers to the tragic events as a "strange miracle of justice." Despite her repentance, Annabella is murdered. Vasques, who orchestrates the lovers' deaths, is pardoned by the Cardinal, who also absolves Grimaldi despite knowing his guilt in murder. The Cardinal then seizes the lovers' property. Although the Friar declares in the first act that "heaven is just," the world Ford portrays seems devoid of true justice.

Religion
Religion, particularly regarding sin and morality, plays a pivotal role in the play. However, religion as a source of spirituality fails to provide solutions to the lovers' dilemmas. Bonaventura, the Friar, is portrayed in a somewhat positive light, but his prayers and counsel seem largely ineffective and are ignored by everyone except Annabella. While religion condemns the lovers' actions, the Friar's guidance offers minimal assistance. Additionally, the behavior of other religious figures appears blatantly hypocritical—the Cardinal offers refuge to Grimaldi, a known murderer, and at the play's conclusion, he seizes the lovers' property in the name of the church. Ultimately, the play depicts religion not as a spiritual and ethical force but as worldly and corrupt.