“There are people who eat the earth and eat all the things that grow on it. Then there are all the other people who stand around and watch them eat.”
— Birdie's observation about the Hubbard family's ruthless nature.

Lillian Hellman (1939)
Genre
Fiction
Reading Time
120 min
Key Themes
See below
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In their Southern estate, the Hubbard family's greed and betrayals lead to a ruthless fight for wealth, where only Regina truly wins.
The play starts in the Hubbard family's rich Alabama home in 1900. Regina Giddens, a sharp, ambitious woman, hosts her brothers, Ben and Oscar Hubbard, and Oscar's wife, Birdie. They discuss a profitable investment: a new cotton mill that will use cheap Black labor and local resources. Ben and Oscar have their shares, but Regina needs her husband, Horace Giddens, to provide her part of the money. Horace is very sick with a heart condition and is away for treatment. The brothers are impatient and hint they will cut Regina out if she does not get the money quickly, showing the family's ruthless nature.
Horace Giddens returns home from Baltimore, which initially relieves Regina, as his presence is necessary for her financial plans. He is weak and frail, needing constant care from his daughter, Alexandra, and his Black servants, Addie and Cal. Regina immediately pressures him about investing in the cotton mill project with her brothers. Horace, however, has strong moral objections to the Hubbard family's exploitative business practices and their treatment of local workers, especially the Black community. He is tired of their greed and refuses to fund a venture he sees as wrong, increasing Regina's frustration and the tension between them.
Annoyed by Horace's refusal, Oscar and Ben plan to get Horace's money through his daughter, Alexandra. Oscar suggests that his weak-willed son, Leo, marry Alexandra. This would combine their fortunes and give the Hubbards control over Horace's wealth when he dies. Oscar believes Alexandra's inheritance, especially Horace's railroad bonds, would cover Regina's share of the mill investment. Birdie, Oscar's wife, is horrified by this manipulative plan, knowing her son and husband's true nature, but she cannot effectively object.
Oscar, desperate to finish the mill deal, tricks his son, Leo, into stealing Horace's railroad bonds from Horace's safe deposit box at the bank where Leo works. Leo, wanting to please his father and escape his dull life, agrees, thinking he is just 'borrowing' the bonds. Horace, however, having grown suspicious of the Hubbards' intentions and noticing a change in Leo, checks his box. He quickly finds the theft and confronts Regina, knowing immediately who is responsible. This discovery starts a dangerous game, as Horace now has significant power over his scheming in-laws.
Horace, now very sick and in his wheelchair, confronts Regina, Ben, and Oscar with his knowledge of Leo's theft of the bonds. He says he plans to tell everyone that he *gave* the bonds to Leo as a loan, effectively framing them as thieves if they proceed with the mill deal using the stolen money. This would ruin their reputations and possibly send Leo to jail. Horace's unexpected cleverness and determination shock the Hubbards, especially Regina, who realizes her brothers have risked her share of the mill and her future money. The power dynamic changes greatly.
In a key and chilling scene, Horace has a severe heart attack while alone with Regina. He struggles to reach his medicine, but Regina, seeing a chance to regain control and secure her inheritance, coldly watches him collapse. She does nothing to help him or get his medication, letting him die. Alexandra, Addie, and Cal find Horace's body shortly after. Regina's calculated inaction shows her ruthless ambition and her willingness to allow murder to reach her financial goals and escape her brothers' control.
After Horace's death, the family pretends to mourn. Regina fakes sadness, while Ben and Oscar mostly worry about how Horace's death will affect their mill deal and the stolen bonds. Alexandra, however, is deeply affected and increasingly suspicious of her mother's behavior and the situation around her father's death. She remembers her father's earlier warnings about her mother and the Hubbards' greed. Addie, the family's Black servant, also has strong suspicions, having seen Regina's coldness and the family's manipulative ways for years, silently recognizing the truth.
With Horace dead, Regina tells Ben and Oscar that she knows about the stolen bonds. She threatens to expose Leo as a thief and ruin their reputations if they do not give her a 75% share of the new mill, instead of the 33% they first agreed on. She blackmails them, using their guilt and fear of scandal. Ben, seeing Regina's ruthlessness and realizing she has outsmarted them, reluctantly agrees to her terms. Oscar is angry but powerless, as Regina now controls everything, securing her position as the most powerful person in the Hubbard family.
Alexandra, having overheard parts of Regina's blackmail plan and understood the truth about her father's death and the family's corruption, confronts her mother. She condemns Regina's cruelty and the Hubbards' greed, stating her intent to leave the house and make her own way, free from their influence. This is a moment of freedom for Alexandra, who refuses to be another victim of her family's manipulative world. Regina, for the first time, is truly shocked and isolated by her daughter's defiance, realizing the real cost of her ambition.
The play ends with Regina, having won her financial schemes, sitting alone in her grand, empty house. She has secured her fortune and outsmarted her brothers, but at the cost of her daughter's love and her husband's life. The Black servants, Addie and Cal, also plan to leave, unable to stay in the oppressive atmosphere. Regina's victory is empty, leaving her isolated and friendless amidst her ill-gotten gains, a clear example of the play's criticism of uncontrolled capitalist greed and its damaging effect on human relationships.
The Protagonist/Antagonist
Regina moves from being a woman seeking her share of wealth to a solitary, powerful figure who has destroyed her family for financial gain.
The Supporting
Horace returns home weakened, but finds the strength to expose the Hubbards' treachery before succumbing to his illness, influencing Alexandra's future.
The Supporting
Alexandra transforms from an innocent, obedient daughter into an independent woman who rejects her family's corrupt legacy.
The Supporting
Ben maintains his power and cunning, but is ultimately outmaneuvered by Regina, acknowledging her superior ruthlessness.
The Supporting
Oscar remains a cruel and ineffective figure, perpetually overshadowed and manipulated by his siblings.
The Supporting
Birdie remains trapped and suffering, her gentle nature unable to withstand the Hubbards' cruelty, yet she offers moments of clarity and compassion.
The Supporting
Leo remains a weak and manipulated figure, never truly developing agency or moral conviction.
The Supporting
Addie remains a steadfast moral compass, ultimately choosing to leave the corrupt household, reflecting her unwavering integrity.
The main idea of 'The Little Foxes' is the destructive power of uncontrolled greed and materialism. The entire Hubbard family, especially Regina, Ben, and Oscar, are consumed by a constant desire for wealth and power. This greed shows in their willingness to exploit others (the cotton mill plan), lie, steal (Leo's theft of the bonds), and even commit murder by inaction (Regina letting Horace die). The play clearly shows how the pursuit of money destroys human relationships, morality, and ultimately leaves the 'winners' isolated and empty, as seen in Regina's final, lonely triumph.
“There are people who eat the earth and eat all the things that grow on it. Then there are people who stand around and watch them eat it.”
The play contrasts the fading elegance of the Old South, shown by Birdie Hubbard and, to some extent, Horace's moral stand, with the rise of brutal industrial capitalism shown by the Hubbards. Birdie laments the loss of her family's beautiful plantation and its values, while the Hubbards eagerly embrace exploitative factory labor and ruthless business practices. This idea highlights a societal shift where traditional Southern charm and honor are being replaced by a more ruthless, modern way of getting rich, with terrible effects for those caught in the change, like Birdie, and those who resist it, like Horace.
“I remember my mama's bougainvillea. It grew so fast, so beautiful. Now... now it's all gone. Just a memory.”
Lillian Hellman explores the limited ways women could gain power in the early 20th century South, particularly through Regina Giddens. Denied direct involvement in business, Regina uses her intelligence and ambition for manipulation and control within her home. She must work through men (her brothers and husband) to reach her financial goals. Her extreme actions can be seen, in part, as a response to societal limits that force her to fight fiercely for power in a male-dominated world. Alexandra's eventual rebellion, however, suggests a new hope for women to find power through independence and moral honesty, rather than through cutthroat manipulation.
“I should have been a man.”
This idea is clear in the contrast between Horace and Alexandra on one side, and the Hubbard siblings on the other. Horace, despite his physical weakness, keeps a strong moral sense, condemning the Hubbards' exploitation and ultimately refusing to join their schemes. His honesty, though it costs him his life, inspires Alexandra to reject her family's corruption. Alexandra's journey is one of realizing her family's depravity and choosing a path of honesty and independence. The play suggests that while corruption may lead to material wealth, moral honesty, even in defeat, offers true freedom and dignity.
“Well, there are people who can eat the earth and eat all the things that grow on it. Then there are people who stand around and watch them eat it. And then there are people who themselves eat the earth and all the things that grow on it, but who do not know that they are eating it.”
A MacGuffin that drives the central conflict and exposes character.
Horace's railroad bonds serve as a crucial MacGuffin, a plot device that is vital to the characters' motivations and the unfolding of the story, but whose specific nature is less important than its function. The theft of these bonds by Leo, at Oscar's instigation, directly leads to Horace's counter-plan, Regina's desperate act, and her subsequent blackmail of her brothers. The bonds are not just money; they are a symbol of power and control, revealing the Hubbards' greed and their willingness to commit illegal acts, while also providing Horace with the leverage to temporarily challenge them.
A ticking clock and a catalyst for Regina's most heinous act.
Horace Giddens' severe heart condition functions as a ticking clock throughout the play, creating urgency for Regina to secure his investment before his potential death. More significantly, it becomes the catalyst for Regina's most chilling act: her deliberate inaction during his fatal heart attack. His illness not only provides a motive for the Hubbards' attempts to control his money but also tests Regina's moral limits, revealing her ultimate ruthlessness. It also makes his eventual death plausible within the narrative, creating a dramatic turning point.
The central object of desire that fuels the family's avarice and conflict.
The proposed cotton mill investment is the primary driver of the plot, serving as the ultimate prize the Hubbard siblings are willing to betray, steal, and even kill for. It represents the promise of immense wealth and power, embodying the new industrial capitalism that is replacing older Southern ways. The negotiations and schemes surrounding this investment expose the true nature of each character – Ben's strategic cunning, Oscar's crude ambition, and Regina's insatiable desire for dominance. It is the tangible manifestation of their collective greed.
A symbolic setting that reflects the family's decaying morality.
The Hubbard family home, described as lavish but ultimately oppressive, functions as a symbolic setting. It is the arena where the family's battles for wealth and power unfold, a gilded cage for Birdie and Alexandra, and a stage for Regina's manipulations. Despite its outward grandeur, the house is filled with tension, betrayal, and cruelty, mirroring the decaying morality of its inhabitants. By the end, when Regina is left alone in her 'victory,' the house becomes a symbol of her hollow triumph and isolation, a monument to her ill-gotten gains and the destruction she has wrought.
“There are people who eat the earth and eat all the things that grow on it. Then there are all the other people who stand around and watch them eat.”
— Birdie's observation about the Hubbard family's ruthless nature.
“I'm not afraid of you, Regina. I've never been afraid of you. You're just a mean, ambitious woman.”
— Alexandra finally standing up to her mother, Regina.
“Some people like to do something. They like to build something, or make something. I like to watch.”
— Benjamin Hubbard reflecting on his passive, yet calculating, nature.
“There's something I want to tell you, Horace. I'm going to do it. I'm going to do it for myself, for Alexandra, for all the people you and your kind have walked over.”
— Regina's declaration to Horace as she asserts her dominance.
“I was always a little scared of you, Regina. You always seemed to know what you wanted and how to get it.”
— Birdie expressing her long-held fear of Regina.
“The world is full of people who take and people who let themselves be taken.”
— A general statement about human nature that permeates the play.
“Money is a terrible thing to have to be without.”
— Oscar Hubbard's view on the necessity and power of wealth.
“It's not enough to be good. You have to be smart, too.”
— A pragmatic piece of advice about survival in a harsh world.
“I don't think I'll ever be able to forgive you for what you've done.”
— Alexandra's strong condemnation of her mother's actions.
“We are all of us, in some way, trying to escape from ourselves.”
— A philosophical musing on the human condition.
“I've never been happy. Not for one day of my life.”
— Birdie reflecting on her sad and unfulfilled life.
“You'll never know what it is to be hungry, to be cold, to be afraid.”
— Gideon Hubbard to his children, emphasizing their privileged upbringing.
“I'm tired of watching. I'm going away.”
— Alexandra's final decision to leave the corrupt family home.
“There are some people who can't be helped. You just have to let them go.”
— A pragmatic, albeit harsh, view on dealing with certain individuals.
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