This article will investigate and talking about the character of Lulu in Frank Wedekind's play of a similar name. It will dive into the relationship that Lulu has with the people of the late 1800's, and also the difficulties that ladies have encountered throughout the hundreds of years denying their sexual hunger in a male centric world. There will be examinations concerning female abuse and sexual orientation status. Additionally one will take a gander at the parts of anecdotal and true 'Femmes Fatales' all through the ages, from those in story books to real 'symbols' who have contacted the world through current media scope. It will talk about in the case of being a sexually alluring lady is help or deterrent, is a lady a slave to men's wants or is it a device that ladies use to live and lead the existence that they wish? In research of the character of Lulu I read the presentation from the play Lulu adjusted by Nicolas Wright and his understanding to the character of Lulu and Frank Wedekind's strategy inquire about by having sexual experiences with various whores. Utilizing this technique Frank Wedekind made lulu, by taking diverse the characteristics and blemishes of the whores he had met, ladies who are portrayed as "overpowering, some boldly genuine, some underhanded, some hyper, all damned." (Wedekind/Wright, 2007:11) Nicolas Wright gives the impression in the presentation that "Absolutely he probably go over a lady who, at five years old or somewhere in the vicinity, was assaulted and undermined by a man who may have been her dad. This is precisely what had happened to Lulu, as Wedekind goes to some inconvenience to illuminate. Is it accurate to say that he is stating that this frightful occasion has framed her life, that is it's made her what she is as a grown-up? As a nineteenth centery buck, he may not recognize the association. However his remarks on ladies are loaded with knowledge, and the way the way lulu sexualises each relationship she goes into with a man appears to be especially part of harmed tyke disorder." (Wedekind/Wright, 2007:11) By perusing Nicolas Wright's musings on how the character of Lulu is a manhandled tyke and is a harmed soul and as a character has an extremely distorted perspective of what is worthy and what is ordinary in a relationship. Because of the impression of her youth raised by a man who is said to be her dad who is suggested in the play they had a wrong relationship. This is obvious in Act 4. She requests that Schigolch execute Rodrigo (a gymnastic performer who is coercing lulu) for her. "Lulu: what do you need? Try not to ask excessively. Schigolch: well, now.... in the event that you at any point felt nostalgic ... for our old arrangement..... Lulu: gracious god.....! Schigolch: Why not? Lulu: I'm ....changed. I'm not a youngster any more. Schigolch: what do see when you take a gander at me now? Some matured beast? Lulu; however you've just got a fancy woman." (Wedekind/Wright, 2007: Act 4:94) Lulu from a youthful age was passed around like a toy for men's pleasure. This data mirrors that Lulu is continually searching for somebody to take care of her, and the security which accompanies marriage, as she has never had that as a kid. Presently as a grown-up Lulu can just depend on her remarkable excellence and the reality all men from various status' are attracted to her. This thusly engages her to control the men throughout her life, to twist to her each impulse while the man still supposes he is in charge. In any case, consequently by getting to be what the man needs from her Lulu can captivate them by focusing on their shortcomings and getting what she may need in that circumstances previously her eyes begin to ponder once more. This is more evident when she weds for the second time, Eduard Schwarz. In this relationship she is the person who is control and she doesn't care for this as she has nothing to control him with, so it is my conviction this is the reason she starts an undertaking with Dr Franz Schoning. This marriage to Schwarz is by all accounts a sound relationship and extremely agreeable way of life, and which by Lulu going into this undertaking with Schoning influences me to ponder that Lulu isn't needing an adoring family and the security of being hitched, she needs some risk and energy to her life, and to me this narrow minded disposition which numerous ladies from her experience would murder for influences me to figure what does Lulu truly need? It's evident she needs the security of marriage which is the thing that society expects of ladies in her status and circumstance. In any case, this isn't what lulu needs' she is a solid sexed lady with a characteristic sexual craving which tragically was conflicting with the general public grain. Lulu's character was in front of the time's as she was composed in a period when ladies were quelled and needed to wed for security. In a way that was most ladies in that time desire was to wed well or more their station. In Pride and Prejudice by Jane Austin Mrs. Bennet was fixated on discovering spouses for her five little girls. The champion of Pride of Prejudice Elizabeth Bennet is the direct inverse of Lulu. Though Elizabeth Bennet needs to wed for affection, and disdained wedding only for security. When she was proposed by her cousin Mr Collins it requires him some investment to comprehend that his proposition is being rejected by Elizabeth, in that time was tranquil unfathomable to really decline a proposition. "Your segment is miserably so little that it will be no doubt fix the impacts of you flawlessness and obliging capabilities. As I should along these lines infer that you are not genuine in your dismissal of me, I will chuse to credit it to your desire of expanding my affection by tension, as indicated by the typical routine with regards to exquisite females." (Austin,1996:106) Indeed, even Jane Austen herself in 1802 acknowledged a proposition to be engaged from Harris Bigg-Wither, however she later altered her opinion the following day. In every last bit of her books the champion in some way or another finished in a reasonable marriage with the man of their affections, yet she herself went ahead to turning into an 'old house keeper' which was her decision yet in this article it expresses that "Austen never felt she had been given satisfactory options: it was either get hitched or turned into a tutor or an instructor." (http://www.sexualfables.com/spinster.php). Harris Bigg-Wither who after her demise read her books all the more intently in attempting to comprehend her refusal of him and reached conclusion that marriage didn't intrigue her, in light of the fact that in her books she did exclude sexual energy, and furthermore she would just expound on the prelude to marriage non-romantically. So does this imply Austen felt that sexual strain in a marriage would be the defeat of a relationship that begun without it and that depended on friendship? I feel that Austen a ladies of the mid 1800's who was relied upon to wed and was terrified of sex and the intricacies that accompany it, and figured marriage ought to be the result of two individuals in adoration and not a sensible and viable course of action. She is cited from a letter to her niece "Anything is to be favored or persevered through as opposed to wedding without Affection," (http://www.sexualfables.com/spinster.php). So in the mid 1800's Jane Austen was changing the way ladies acted towards marriage that being an old cleaning specialist was the main worthy way of life on the off chance that one wasn't slanted to wed. However, by not wedding started bits of gossip in the 1990's that Austen was in certainty a lesbian and that was the genuine reason she didn't wed. This hypothesis hasn't be demonstrated or invalidated, I believe it's an affront to any ladies in the event that they pick not to wed that they are expected be a lesbian. Indeed, even in the present society ladies are focused on and disapproved of in the event that they have a profession over beginning a family, which as I would like to think it is a man's sense of self that is being harmed by not being required. Straight to the point Wedekind went an alternate way his play Lulu by influencing her of sorts a high class to whore and giving Lulu the looks and the aptitudes to control the men she needed to seek after. As I would see it the motivation behind why Lulu was stunning for the time it was composed in is on the grounds that, it was basic suspected that men were driven by their sexual wants and ladies had none. In the event that Lulu was a man this play would be called Casanova. On the off chance that the lead was a male it wouldn't be as stunning as the world would have known about the tricks of Giacomo Girolamo Casanova de Seingalt who had passed on 1798 who was prestigious for a sexual stalker of young ladies and a player. In any case, Lulu wasn't a man yet she was affected by the men throughout her life, she endeavored to pick up control by oppressing the men she needed with her sexual want. Another lady in fiction utilized similar aptitudes in achieve what data her supplicate had. Milady Clarick de Winter from The Three Musketeersa novelbyAlexandre Dumas. Milady Clarick de Winter was a young person compelled to enter the religious circle, yet when she arrives she experiences passionate feelings for a cleric with who she escapes with. They leave the congregation with stolen property to finance their new coexistence, for which them two get captured and were marked culprits with the fleur de liys. At that point she shows up in Athos' town living with a man, and putting on a show to be his sister. Whenever Athos, began to look all starry eyed at her and wedded her. After some time together he finds the brand on her shoulder, saying she was a hoodlum. Supposing she had hitched him just for his cash which isn't valid, a heart-broken Athos endeavors to execute her by hanging her from a tree. In any case, she survived. At the time the book is composed, clearly it was satisfactory to kill your better half on the off chance that you discovered she had carried out a wrongdoing. Milady Clarick de Winter is an able and wonderful covert agent, she is a case of a solid, free lady with a heartbreaking past, and loaded with loathe for men, she appreciates enchantment and the obliteration of men. The men she traps will furnish her with help for a brief timeframe yet will well on the way to meet an inopportune end on the off chance that they learn of her past. Milady Clarick de Winter is callous for her endless violations. As I would like to think Lulu and Milady Clarick de Winter are femme fatales, and to accomplish their shrouded reason, by utilizing their female resources, for example, excellence, beguile, and sexual charm.>