Notwithstanding the Platonic character of the correspondences, Obici and Marchesini remark, there is really a substratum of emotional sexuality beneath it, and it is this which finds its expression in the indecorous conversations already referred to. The “flame” is a love-fiction, a play of sexual love. This characteristic comes out in the frequently romantic names, of men and women, invented to sign the letters.
Even in the letters themselves, however, the element of sexual impressionability may be traced. “On Friday we went to a service at San B.,” writes one who was in an institution directed by nuns, “but unfortunately I saw M.L. at a window when I thought she was at A. and I was in a nervous state the whole time. Imagine that that dear woman was at the window with bare arms, and, as it seemed to me, in her chemise.” No doubt a similar impression might have been made on a girl living in her own family. But it is certain that the imaginative coloring tends to be more lively in those living in colleges and shut off from that varied and innocent observation which renders those outside colleges freer and more unprejudiced. On a boy who is free to see as many women as he chooses a woman’s face cannot make such an impression as on a boy who lives in a college and who is liable to be, as it were, electrified if he sees any object belonging to a woman, especially if he sees it by stealth or during a mood of erotism. Such an object calls out a whole series of wanton imaginations, which it could not do in one who, by his environment, was already armed against any tendencies to erotic fetichism. The attraction exerted by that which we see but seldom, and around which fancy assiduously plays, the attraction of forbidden fruit, produces tendencies and habits which could scarcely develop in freedom. Curiosity is acute, and is augmented by the obstacles which stand in the way of