Incest
Ford's predominant interest was in abnormal psychology and this is evident in the main theme of the play: incest. The play remains controversial both for its portrayal of incest in the first place, as well as its purportedly mild treatment of incest as something that is, to some degree, a natural phenomenon. When Giovanni confesses his feelings to Annabella, for example, she immediately reciprocates, suggesting that the two are "fated" to be together after all. This is one of the ongoing interpretive questions that the play raises: does it endorse incest or condemn it? Of course, like most analytical questions, the answer is likely somewhere in between, as the play punishes the incestuous pair at the same time it suggests something genuine in their connection to one another.
Desire and Obligation
Like most of Ford's plays, 'Tis Pity She's a Whore explores the complex and often contentious dynamic between individual desire and societal obligation or duty. Nowhere is this more apparent than through the character of Annabella, who personally lusts after her own brother but agrees to marry Soranzo in order to conform to societal expectations for marriage. While one could argue that the play is critiquing social norms in favor of individual passion, the punishments delivered at the end of the play suggest that the play is simply revealing the tension that frequently exists between the two.
Female Sexuality
Of course, the very title of the play introduces the theme of female sexuality and its relationship to social expectation. It is crucial to note the disparate actions and fates of men and women in the play: while the women do not initiate sexual relationships out of wedlock, they are the ones who are punished most intensely for their transgressions. Even the end of the play, in which the Cardinal declares Annabella a "whore," signifies a wildly disparate understanding regarding male sexuality and female sexuality. Ultimately, the treatment of women in the play invites the reader to observe the double standard that exists between men and women in this society. Despite its misogynistic title, the play is often read as a defense of women's autonomy, with the title actually being an ironic and erroneous expression of patriarchal judgment.
Justice and Injustice
The systems of justice that operate in the play are notably ineffective. Characters frequently seek justice for wrongdoing, only to be met with corruption and weakness from the very figures who are expected to administer this justice. As such, the play sees an inordinate amount of vigilante justice, of characters taking matters into their own hands – stabbing each other, poisoning each other, and deceiving each other in a plot of revenge. The obvious lack of justice at work in the play suggests that sometimes, those who are endowed with moral import can be just as corrupt and unethical as the perpetrators of crimes.
Sex and Death
Plenty of plays of this era portray the complicated and unsettling connection between sex and death. In 'Tis Pity, this theme appears in the form of lust – both sexual lust and bloodlust. Characters are often so overwhelmed by these passions that they act seemingly without thought. Giovanni and Annabella enter into an incestuous relationship without regard for what is likely to happen (Annabella becoming pregnant), and other characters seek violent revenge on one another when systems of justice seem to fail. Nowhere is the link between sex and death more apparent than when Giovanni stabs Annabella during a passionate kiss. Read metaphorically, Annabella's murder is a type of perverted consummation, with Giovanni's sword penetrating his sister instead of his own body.
The Power of the Church
The Cardinal is exceptionally powerful, more so than the monarch, and it is he who has the role of playing judge and jury to his subjects. He has the power to order Puttana to be burned at the stake, he has the power to exile people and forbid them to return. He is also able to make sure that the church benefits financially from this tragedy by awarding it all of the property and money left by the dead after the feast. In this play there are two powerful representatives of the church: the Friar, who is a moral influence, and the Cardinal, who is the legal influence.
Manipulating Religion
The characters in the play interpret and judge themselves through the lens of Christianity, a habit that often leads to the manipulation of religious language and ideals to serve one's individual desire. Giovanni, for example, twists the Friar's warnings about incest to endorse his confession of love to his sister. Even characters within the church itself – notably, the Cardinal – manipulate religious concepts for their own (in this case financial) gain. The Friar is an example of true and pure religion, which is ironic because he ultimately leaves the church in an effort to best serve God as Giovanni's guide.
