Luther had a good voice and a knowledge of musical composition. He played the flute and the lute, and in church he introduced congregational singing, in which the people took an active part in worship by means of the chorales. It is related that, as a child, he used to sing with other boys in the street in winter, for his daily bread, and that on one occasion, Frau Cotta frantically rushed from her house on hearing his pleading tones, took him in, and gave him a warm meal. Later in life, when he was an Augustine monk, he often chased away his melancholy and temptations by playing on his lute, and the story goes that "one day, after a self-inflicted chastisement, he was found in a fainting condition in his cell, and that his cloistered brethren recalled him to consciousness by soft music, well knowing that music was the balsam for all wounds of the troubled mind of their 'dear Martinus.'" Coming to more recent times, we find that some of the greatest composers and other men of genius were "savages," judged by Dr. Hanslick's standard. When Congreve wrote that "music hath charms to soothe the savage breast," did he not mean to imply that educated people are not affected by it? Take the case, for instance, of that old barbarian, Joseph Haydn, and note how he was affected by the "Creation" when he heard it sung. "One moment," he said to Griesinger, "I was as cold as ice, and the next I seemed on fire, and more than once I feared I should have a stroke." Another "savage," Cherubini, when he heard a Haydn symphony for the first time, was so greatly excited by it that it forcibly moved him from his seat. "He trembled all over, his eyes grew dim, and this condition continued long after the symphony was ended. Then came the reaction. His eyes filled with tears, and from that instant the direction of his work was decided." (Nohl.)