“Prior to the Romantic movement (say before the 1780s), the vampire had been either subject of ecclesiastical study or a minor concern in folklore - it had no artistic currency. Then quite suddently in Germany (Heinrich August Ossenfelder, “Der Vampir” (1748); Gottfried August Bürger, “Lenore” (1773); Goethe “The Bride of Corinth” (1797); Ernst Theodor Amadeus Hoffmann “Vampirismus” (1821), in France (Charles Nodier, “Lord Ruthven the Vampire” (1820), “Smarra” or “Démons de la Nuit, conte fantastique” (1821); Prosper Mérimée, “La Guzla” (1827); Charles Baudelaire, “The Vampire” (c. 1857-68), “The Metamorphoses of a Vampire” (1857), and especially in England (Robert Southey, “Thalaba the Destroyer” (1801); Samuel Taylor Coleridge, “Christabel” (c. 1797-1800), Lord Byron, “The Giaour” (1813), “Fragment of Novel” (1819); John William Polidori, “The Vampyre” (1819), John Keats “La Belle Dame sans Merci” (1819)) the vampire had become an eidolon of Romantic consciousness, an apt mythologem for a new view of human interactions.
For the Romantic artist, acutely self-conscious, found in this myth an analogy to explain how energy (life, imagination, creativity) was exchanged between the various characters and activities he encountered. Without the vocabulary of transactional analysis, this myth provided a working text, so to speak, to describe human exchanges. […] Other writers, such as Henry James, Oscar Wilde or D. H. Lawrence used the analogy of the vampire to describe the inner and outer lives of their characters.”
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