In Christian Rossetti’s “In an Artist’s Studio“, she writes, about the man looking at the woman’s portrait: “He feeds upon her face by day and night, / And she with true kind eyes looks back on him, /…../Not as she is, but as she fills his dreams” (Rossetti 9-14). The “feeds upon her ” part seems sort of vampiric to me, but it’s interesting that Rossetti is referring to a British man. Most of the vampire-like connections we’ve talked about have been applied to foreigners, like Count Fosco and his animals, mesmerism, and love of sugar. Yet pretty much all the men in what we’ve read so far have fed on women. Even though the Count is the one with vampiric undertones, living with Percival is what sucks the life out of Laura. Hartright also feeds on Laura, in a similar way to the artist in “In an Artist’s Studio”; he has a picture he painted of Laura that looks back on as he is telling the story (Collins 51). The “true kind eyes” part makes the woman sound very innocent, endearing and submissive, a lot like Laura, but then the final line reveals that the woman only looks this way in an idealized version that the man imagined when he painted her. This reminded me of Perkins and Donaghy article, ” A Man’s Resolution: Narrative Strategies in Wilkie Collins’ The Woman in White” where they argue that Walter is an unreliable narrator and has his own motivations that bleed into everyone else’s narratives, since he is presumably the editor of all the “evidence” he compiled (Perkins & Donaghy 400). All this made me wonder if any of the New Women writers exploited vampire tropes when writing about bad husbands and men. “The New Woman Fiction” from the Victorian web mentioned that New Woman fiction dealt with the issues of “venereal diseases” and “domestic [and sexual] violence” (The New Woman in Late Victorian Fiction section), and I think those were both the two major shock factors in Dracula.