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ONE: From this necessity of the favour of other people arose private duels, which sprang up precisely in an anarchical state of the laws. It is said they were unknown to antiquity, perhaps because the ancients did not meet suspiciously armed in the temples, the theatres, or with friends; perhaps because the duel was an ordinary and common sight, presented to the people by gladiators, who were slaves or low people, and freemen disdained to be thought and called private gladiators. In vain has it been sought to extirpate the custom by edicts of death against any man accepting a challenge, for it is founded on that which some men fear more than death; since without the favour of his fellows the man of honour foresees himself exposed either to become a merely solitary being, a condition insufferable to a sociable man, or to become the butt of insults and disgrace which, from their constant operation, prevail over the fear of punishment. Why is it that the lower orders do not for the most part fight duels like the great? Not only because they are disarmed, but because the need of the favour of others is less general among the people[213] than among those who, in higher ranks, regard themselves with greater suspicion and jealousy.Less dangerous personally than the theological criticism, but more pernicious to reform, was the hostile criticism that at once appeared from the thick phalanx of professional lawyers, the sound-thinking ��practical men.�� From whom only two short extracts need be rescued from oblivion, as illustrations of the objections once raised against ideas which have since become the common groundwork of all subsequent legislation, in America as well as in Europe. The first extract is from a work on criminal justice by a lawyer of Provence, who in 1770 wrote as follows:�� TWO: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.