THREE:To combine the maximum of perspicuity with the maximum of fidelity to the original has been the cardinal principle observed in the translation. But it would, of course, have been no less impossible than contrary to the spirit of the original to have attempted to render perfectly comprehensible what the author purposely wrapped in obscurity. A translation can but follow the lights and shades of the surface it reflects, rendering clear what is clear in the original, and opaque what is opaque.Thus, the two writers to whom Beccaria owed most were Montesquieu and Helvetius. The ��Lettres Persanes�� of the former, which satirised so many things then in custom, contained but little about penal laws; but the idea is there started for the first time that crimes depend but little on the mildness or severity of the punishments attached to them. ��The imagination,�� says the writer, ��bends of itself to the customs of the country; and eight days of prison or a slight fine have as much terror for a European brought up in a country of mild manners as the loss of an arm would have for an Asiatic.��[4] The ��Esprit des Lois,�� by the same author, probably contributed more to the formation of Beccaria��s thoughts than the ��Lettres Persanes,�� for it is impossible to read the twelfth book of that work without being struck by the resemblance of ideas. The ��De L��Esprit�� of Helvetius was condemned by the Sorbonne as ��a combination of all the various kinds of poison scattered through modern books.�� Yet it was one of the most influential books of the time. We find Hume recommending it to Adam Smith for its agreeable composition father than for its philosophy; and a writer who had much in common with Beccaria drew[8] from it the same inspiration that he did. That writer was Bentham, who tells us that when he was about twenty, and on a visit to his father and stepmother in the country, he would often walk behind them reading a book, and that his favourite author was Helvetius.