When physical suffering became infrequent, and the arrangements secured both convenience and comfort during the voyage, it was long ere moral control, or a reformatory discipline, became objects of concern. A surgeon,[75] employed from 1818, amused the public with the details of his system of management--not wanting in humanity. He encouraged a joyous indifference to the past or the future: the prisoners sang from morning to night, and often spent the evenings in dancing. The greatest criminals were selected on principle for offices of trust, as far the most trusty! The discourse was licentious--the feats of thievery, the chosen topics of amusement and conversation. A stage, decked out with the remains of former spoil, exhibited "the forty thieves," or a comedy of judges, officers, and felons: mock charges were enforced by barristers, arrayed in blankets; the bench was filled with an actor decorated with a quilt, while a swab covered his head, and descended to his shoulders. In the female prison ships, dancing and concerts, at which the cabin passengers were spectators, whiled away the voyage. The gross immoralities of a former period had subsided when he wrote: he mentioned the change with regret. A free intercourse, he thought, more conducive to reformation, as well as to harmony: the attachment formed by the women, softened their demeanor, and facilitated their control. Such were his views, and they had many partisans: but in connection we learn, without astonishment, that he thought contemptuously of saintship, considered reformation utopian, and honesty rather the result of habit than of principle; the convicts, more unfortunate in their detection than peculiar in their crimes: capable of the devotion of hypocrites; hardly of repentance. The dash of libertinism which sparkles in the pages of this writer, fell in with the humour of the day, and the work was popular. It greatly tended, notwithstanding its levity, to change the character of penal discipline in the colonies.[76]