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Music Halls and Operas: The Class Divide in The Yellow Book

Edward-Ian Manapul

Ryerson University

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"          The text “The Composer of 'Carmen'” was praised by reviewer Pierre La Rose stating that it was almost good enough for the reader to agree with him. He notes the clever use of “Poor Bizet” because of its positive connotation which would otherwise be negative if applied to any other composer. He may have said Daubet did it better in six words, but he still considers it a noteworthy contribution to The Yellow Book (La Rose 161-165.). Lane's decision to include “The Composer of 'Carmen'” is sensible because it caters to the upper class taste and the Victorian aesthetic because it is about a foreign and well-known composer. This contrasts with the review of Sickert's painting “The Lion Comique”, a painting of a lion comique (parodies of upper class men whom sang songs of womanizing and drinking) in a music hall (Kift 49), which was accused of appealing to people who “earn a few shillings” (ie lower class) and looking like an incomplete sketch. The anonymous reviewer was upset because they did not feel it was appropriate for The Yellow Book to contain “low class” subject matter (Anonymous 23). This reveals that the middle and upper class are Lane's main audience because music halls were looked down upon by the upper and middle class. They are also the reading demographic and could afford The Yellow Book. " http://www.1890s.ca/PDFs/YBV2_willeby_composer.pdf