SEVERAL years ago in a study of Coleridge's poem Christabel' I advanced the then novel theory that the unfinished tale is essentially a vampire story, one of the first and by far the subtlest of the many such stories in the English language. The theory was received with considerable interest and general approval, though there were, of course, some partial or complete skeptics. I now wish to suggest that the long prose narrative published with four other stories in In a glass darkly in 1872 by that once famed master of the Gothic, J. Sheridan LeFanu, contains so many strange parallels to that it seems possible that LeFanu had either made the same interpretation of Coleridge's poem as I was to make, and had reflected it, consciously or unconsciously, in his story; or else he had been reading more or less the same sources as Coleridge read, and applied them with often surprisingly similar results. For Carmilla is openly and admittedly a vampire story, and its author makes much of the way in which he, or at least one of his characters, Baron Vordenburg, has steeped himself in vampire lore. First of all, the antagonists in both stories, Geraldine and Carmilla, are female vampires; and female vampires are comparatively rare, at least in the earlier period of vampirology. More than this, the main victims, Christabel and Laura, are women; and such restriction of sexwomen to women-is even rarer. Kipling's version of the vampire, with her exclusively male quarry, is a purely modern refinement.