Southey in his _Thalaba_ shows us a vampire, a young girl in this case, who has been torn away from her husband on their wedding day. The curse impels her to attack him, to seek to drain his lifeblood. He becomes aware of the truth and takes her father with him to the tomb, to await her coming forth at midnight, which is the striking hour for vampires. When she appears, "in her eyes a brightness more terrible than all the loathsomeness of death," her father has the courage to strike a lance through her heart to dispel the demon and let her soul be at peace. "Then howling with the wound The fiendish tenant fled.... And garmented with glory in their sight Oneiza's spirit stood." Keats uses the Greek idea of the vampire as a lamia or beautiful young woman luring young men to death,--the same theme employed by Goethe in his _Die Braut von Corinth_. In _Lamia_, when the evil spirit in the form of a lovely, alluring woman, is accused by the old philosopher, she gives a terrible scream and vanishes. This vanishing business is a favorite trick with vampires--they leave suddenly when circumstances crowd them. F. Marion Crawford, in _For the Blood Is the Life_, has given us a terrible vampire story, in which the dream element is present to a marked degree. The young man, who has been vainly loved by a young girl, is after her death vampirized by her, something after the fashion of Turgeniev's Clara Militch, and when his friends get an inkling of the truth, and go to rescue him, they find him on her grave, a thin red line of blood trickling from his throat. And the flickering light of the lantern played upon another face that looked up from the feast,--upon two deep, dead eyes that saw in spite of death--upon parted lips redder than life itself--upon gleaming teeth on which glistened a rosy drop. The hawthorne stake is driven through her heart and the vampire expires after a terrific struggle, uttering diabolic, human shrieks. There is a certain similarity between this and Gautier's _La Morte Amoreuse_, where the truth is concealed till the last of the story and only the initiated would perhaps know that the reincarnated woman was a vampire. It is also a bit like Turgeniev's _Phantoms_, where a subtle suggestion at the last gives the reader the clue to vampirism, though the author really asks the question at the close, Was she a vampire? The character of the woman is problematic here, as in Gautier's story, less pronounced than in Crawford's.