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Hamilton noted, too, that Kipling wrote the poem soon after his return from India to London, where he worked near a music hall. Music hall songs were "standardized" for a mass audience, with "catchiness" a key quality. Hamilton argued that, in the manner of music hall songs, Kipling contrasts the exotic of the "neater, sweeter maiden" with the mundane, mentioning the "beefy face an' grubby 'and" of the British "'ousemaids". This is paralleled, in her view, with the breaking of the rhyming scheme to ABBA in the single stanza set in London, complete with slightly discordant rhymes ("tells - else; else - smells") and minor dissonance, as in "blasted English drizzle", a gritty realism very different, she argues, from the fantasizing "airy nothings" of the Burma stanzas with their "mist, sunshine, bells, and kisses". She suggests, too, that there is a hint of "Minstrelsy" in "Mandalay", again in the music hall tradition, as Kipling mentions a banjo, the instrument of "escapist sentimentality". This contrasted with the well-ordered Western musical structure (such as stanzas and refrains) which mirrored the ordered, systematic nature of European music.