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Hellman’s portrayal of Regina shows her as the wickedest character. This serves as a foundation to the message that when women are powerless they will do anything to over come it (Friedman 81). Regina shows her true nature towards the end of the play. Regina was forced to stay with Horace after she married him because she had none of her own financial backing. Since Hellman had equated money with independence Regina has no choice but to stay with Horace until she gains her own money and in turn her independence. Her strife for independence highlights her feminist nature. She is willing to endure unhappiness for as long as it takes to be independent (Friedman 82). Regina appears cold and conniving. While her husband lays dying in the house, she tells her bothers and Leo that she can put them in jail for what they have done all while keeping it unknown that she does not really know what happened. Her calm and calculating demeanor as she negotiates shows her as a very focused person. Even though her husband lies dying she only appears to care about her money and how she can manipulate her brothers to her advantage (Galens 166). Regina says that she marries Horace solely for his money and status. She stats that she hates him and cannot wait until he dies. This outburst that shows Regina’s true feelings allows the reader to see her as a feminist in a way. She was so determined to get what she wanted that she bounded herself in a situation that she abhors for years just for a chance to achieve her goal (Galens 156). At the end of the play Alexandra ask her mother is she afraid (225). This line parallels the one in Who’s Afraid of Virginia Wolf. This gives the idea that Regina only terrorized others as a coping mechanism to get over her own fears. Regina’s ability to overcome her fears shows her feminist side despite the immoral methods she chose (lord 146).
Regina’s daughter Alexandra has had her decisions made for her by her mother in the early parts of the play.
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Friedman, Sharon. "Feminism as Theme in Twentieth-century American Women's Drama." American Studies 25 (1984): 69-89. Journals.ku.edu. University of Kansas Libraries. Web. 9 Feb. 2014.
Galens, David, and Lynn Spampinato. Ed. Drama for Students: Presenting Analysis, Context and Criticism on Commonly Studied Dramas. Detroit: Gale Research, 1998. Print.
Hellman, Lillian. The Little Foxes. Six Plays. New York: Vintage, 1979. Print.
Lord, M. G. The Accidental Feminist: How Elizabeth Taylor Raised Our Consciousness and We Were Too Distracted by Her Beauty to Notice. New York: Walker &, 2012. Print.
Murphy, Brenda. "Lillian Hellman: Feminism, Formalism and Politics." The Cambridge Companion to American Women Playwrights. Cambridge: Cambridge UP, 1999. Print.