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44 pages 1 hour read

Lillian Hellman

The Little Foxes

Fiction | Play | Adult | Published in 1939

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Act IAct Summaries & Analyses

Act I Summary

Content Warning: This section of the guide contains references to domestic violence, alcohol addiction, racism, and violence against a character with disabilities, which feature in the source text.

The play takes place at Regina Giddens’ house in Alabama, where she and her family are hosting Mr. William Marshall from Chicago. In the living room, two of the servants are working when Birdie, Regina’s sister-in-law, rushes inside to find a music album. Birdie, who is “usually nervous and timid” is in a hurry to show Mr. Marshall her Wagner album. She is a little drunk, and excited about having dinner with a man who loves music as much as she does, to the point where he travels to Europe for the sole purpose of hearing music.

Her husband, Oscar, enters the living room. He firmly tells his wife they must return to the dining room and tells her she must stop talking so much. He scolds her, saying, “You’ve been chattering at him like a magpie […] I can’t think he came South to be bored with you” (7). Birdie tries to defend herself, saying she is certain Mr. Marshall likes her, but Oscar shuts down her protests. Before they can exit, their teenaged son, Leo, announces the rest of the party will be joining them in the living room.

Leo is followed by Regina, Oscar’s sister who lives at the house, William Marshall from Chicago, Regina’s 17-year-old daughter Alexandra, and Regina and Oscar’s older brother, Ben. As they all sit down to enjoy a glass of port, Marshall applauds the family and their way of life, specifically how they have managed to live so close to each other. Regina reassures him of just how close they are. She tells him, “My brother Ben lives next door. My brother Oscar and his family live in the next square” (9). Ben adds that they all love it that way, and want to remain close as they age. Marshall is touched by this, as his own family is spread out and not in touch with one another as much as he would like.

The men of the family all work closely together, too. Ben and Oscar are in business together, with a company called “Hubbard Sons” (9) and Regina’s husband is a banker. Regina tells Marshall that her husband, Horace, is ill and getting treated at Johns Hopkins. He will, she hopes, be on the mend and home again soon. Finally, Leo works at the bank where Horace is employed.

Marshall asks Birdie to play the piano for a while. Birdie looks to Oscar for permission, and he urges her to go on. As she plays, Marshall continues to ask about the family and their way of life. They tell him that Birdie is the only true Southern aristocrat of the group, and her family’s plantation home, Lionnet, “was the best cotton land in the South” (11). Birdie looks back on her home with fond memories, careful to explain they were kind there. Ben goes on to tell Marshall Lionnet was nearly ruined by the war, “and the sons finish ruining it. And there were thousands like them” (12). He says that aristocrats cannot adjust to change, and it ends up being the end of them. Meanwhile, Ben argues, his family comes from new money: trade. He brags, “twenty years ago we took over their land, their cotton, and their daughter” (12). Now, Lionnet belongs to his family, not Birdie’s.

The deal that the men are there to discuss is the building of a cotton mill in Alabama. Ben says the reason why is to “bring the machine to the cotton, not the cotton to the machine” (13). Marshall is convinced, and the group toasts their new partnership. Marshall bids everyone farewell, especially Regina, whom he has invited to visit Chicago. Leo and Alexandra leave with Marshall to drive their guest back to where he is staying for the night. The brothers exit the living room, too, leaving Birdie and Regina alone.

Regina is elated with the deal and starts to envision her life as a millionaire living in Chicago. Birdie questions how Horace will be able to get around in a big city, but Regina brushes off her sister-in-law’s doubts. She says to Birdie, “Make a wish Birdie, any wish. It’s bound to come true now” (16). Ben and Oscar return and the group takes turns talking about the lavish lifestyle they want now that they’ll be rich. Regina talks of her life in Chicago, Oscar and Ben mention the great trips they’ll take, and Birdie dreams of two things: restoring Lionnet, and for Oscar to give up shooting. Ben calms the room saying that the profits will be very high indeed, for himself and for Oscar.

This statement stops Regina in her tracks. When she asks what he means, Oscar says, “Ben means that we are ready with our two-thirds of the money. Your third, Horace’s, I mean, doesn’t seem to be ready” (19). He tells her the two of them have written to Horace about the deal, but he has never answered their questions about it in his replies. They have been patient, because they want it to stay in the family, but they are running out of time and are not above finding an outside partner for their third investor.

Regina must think quickly. She suggests her husband hasn’t replied because he wants a better bargain. Ben suggests that Oscar give Horace an extra percentage of his shares in exchange for the promise that Alexandra will wed Leo. There is a show of concern from Birdie and Regina, but Regina is willing to consider it as an option to keep the peace and her family’s share of the mill.

Just then, Leo and Alexandra return to the living room. Regina tells Alexandra she must go to Baltimore tomorrow to fetch her father and bring him home. Alexandra is excited, thinking he must be better, but then learns that isn’t the case. She tells her mother that she will go, but if he is not well enough to travel then she will not bring him back to Alabama. Regina is surprised by her daughter’s firmness but doesn’t push back. Instead, she tells her that she will be doing it for his own good, and that she should tell Horace that Regina misses him very much and wants him home.

The men exit and Regina starts up the stairs. Alexandra begins to follow when her aunt Birdie calls her back down. Birdie warns Alexandra that she might be forced into a marriage with Leo, but Alexandra shrugs her off. She tells her aunt not to worry, no one can make her do anything. She bids her good night and starts back up the stairs. As Birdie goes to leave, Oscar, who overheard their conversation, slaps Birdie hard across the face. Alexandra calls out to see if she is okay, but Birdie lies and says she only twisted her ankle. Birdie and Oscar leave the house, and Alexandra is left on the stairs feeling confused and frightened.

Act I Analysis

Act I of The Little Foxes works to establish many things for the play, among them the gender dynamics of the Hubbard/Giddens family (especially in relation to the socio-historical context of the play), the symbolism of Birdie’s headaches, the lockbox, and Oscar’s shooting, and how each of these relates to the play’s main themes of The Difficulties of Female Agency, Passive Violence Against Oppressed Communities, and The Isolation of Greed.

One relationship that develops in the first act is that of Regina and her brothers, introducing The Difficulties of Female Agency. Though Regina charms Marshall and is clearly as capable of conducting business as her brothers, she is openly treated as less than an equal partner in the deal. Instead, she must rely on giving her husband’s word, and when he cannot confirm it himself, her own promise is deemed worthless. Desperate, she agrees to think about letting Alexandra marry Leo, more as part of a business transaction than as a loving match for her daughter. This proposed match reduces Alexandra to a commodity and a bargaining chip, and is discussed entirely without her presence or knowledge. The negotiations over the marriage parallel the negotiations regarding the cotton mill, suggesting that both are equally clinical and transactional in nature. The women are bound to contracts with men: The only way to secure financial security is to surrender or compromise their freedom.

The abusive nature of Birdie and Oscar’s marriage is hinted at from the beginning of the Act, emphasizing one aspect of Passive Violence Against Oppressed Communities in the play, especially violence and discrimination against women. The first moment of the play involves Birdie coming into the living room, drunkenly trying to find a record to show Marshall. Oscar degrades her for her behavior, saying she is behaving like a child. When she doesn’t immediately obey, his language grows threatening. He takes a step closer to her and says, “I said get yourself in hand. Stop acting like a fool” (7). She is said to have a headache, and this is the first clue to the audience that something else might be going on when she gets these “headaches”—they signify that Oscar may be trying to minimize or cover up the detrimental effect his behavior has upon her.

It is eventually revealed that the marriage between Birdie and Oscar is not only verbally and emotionally abusive, but also physically abusive. Birdie tries to warn Alexandra of the plot to have her married off to Leo. Then, “As Birdie quickly attempts to pass him, [Oscar] slaps her hard, across the face” (28). Alexandra hears Birdie cry out, and comes running back down the stairs. Birdie doesn’t tell Alexandra what happened, which implies she has been keeping the abuse a secret for a while. Alexandra, however, suspects that something is wrong. Each of the acts in The Little Foxes end on the staircase. In Act I, the slap is the final gesture, as the couple leaves and Alexandra is left on the stairs, staring out into the audience with fear in her eyes. Alexandra’s fearfulness underscores that the family is not the happy, loving unit they pretended to be when Marshall was around, as Alexandra can sense the dysfunction and fears it.

The Isolation of Greed is also introduced in the first Act, revealing the avaricious natures of the siblings which will contrast with the motives of Birdie and, as the play progresses, Horace. The siblings are so anxious to secure the cotton mill deal that they pretend to present a united front to Marshall, only to quickly descend into backbiting behavior once he leaves and Regina learns she may not be part of the deal after all. The group also discusses what they want once they are millionaires, emphasizing the fact that greed is their primary motivation in seeking the deal. All of the siblings have grandiose ideas about the lifestyle they will soon lead, with each absorbed in gratifying his or her own desires. Birdie, meanwhile, is shocked that her husband bothers to ask her opinion. She introduces the motif of shooting, which is a habit that Oscar has of killing animals for sport, not for food (See: Symbols & Motifs). Birdie tells the group that if she could wish for anything, she would wish that they could all return to Lionnet, where everyone was kind, and that Oscar would stop shooting. She is burdened by the fact that he kills so many animals when there are hungry people who could actually eat that food. Birdie’s main preoccupations—to return to a place she associates with kindness and her objections to the waste of Oscar’s hunting—reveal that she is a gentler and more thoughtful person than the siblings. Similarly, her attempt to warn Alexandra about the proposed marriage shows that she, unlike the siblings, is capable of caring about someone else’s plight, even though it leads to further abuse from her husband.

The symbol of the lockbox is also introduced in Act 1 (See: Symbols & Motifs). Horace’s lockbox will be a puzzle to the greedy Hubbard men, who cannot understand why sentimental items are stored in the same place where Horace’s valuable bonds are kept. The sweet items in the lockbox signal to readers that Horace is kind-hearted, and that he treasures family more than money. Horace’s treasuring of the sentimental trinkets also foreshadows how he will try to protect his daughter later in the play.

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