A short but powerful poem. Recalling my comment on four-line humorous poems:

[The four line form] allows a little more buildup than a couplet, while preserving the added impact that comes from having the punchline coincide with the first rhyme

one can see that pretty much the same applies here, except that the ‘punchline’ is calculated for impact rather than humour. The topic is, of course, indicative of Cleghorn’s stance as a socialist (see the biography).

Personally, the understated commentary in the poem is just as effective as some of the more extended rants and graphic descriptions I’ve seen - it makes nice use of the dissonance the last line sets up in the reader’s mind.

Biography

Gaskell, Elizabeth Cleghorn

  née Stevenson
  b. Sept. 29, 1810, Chelsea, London, Eng.
  d. Nov. 12, 1865, near Alton, Hampshire English novelist, short-story
  writer, and first biographer of Charlotte Brontë.

She was a daughter of a Unitarian minister. When her mother died, she was brought up by a maternal aunt in the Cheshire village of Knutsford in a kindly atmosphere of rural gentility that was already old-fashioned at the time. In 1832 she married William Gaskell, a Unitarian minister, and settled in the overcrowded, problem-ridden industrial city of Manchester, which remained her home for the rest of her life. Domestic life–the Gaskells had six children, of whom four daughters lived to adulthood–and the social and charitable obligations of a minister’s wife claimed her time but not all her thoughts. She did not begin her literary career until middle life, when the death of her only son had intensified her sense of community with the poor and her desire to “give utterance” to their “agony.” Her first novel, Mary Barton, reflects the temper of Manchester in the late 1830s. It is the story of a working-class family in which the father, John Barton, lapses into bitter class hatred during a cyclic depression and carries out a retaliatory murder at the behest of his trade union. Its timely appearance in the revolutionary year of 1848 brought the novel immediate success, and it won the praise of Charles Dickens and Thomas Carlyle. Dickens invited her to contribute to his magazine, Household Words, where her next major work, Cranford (1853), appeared. This social history of a gentler era, which describes, without sentimentalizing or satirizing, her girlhood village of Knutsford and the efforts of its shabby-genteel inhabitants to keep up appearances, has remained her most popular work.

The conflict between Mrs. Gaskell’s sympathetic understanding and the strictures of Victorian morality resulted in a mixed reception for her next social novel, Ruth (1853). It offered an alternative to the seduced girl’s traditional progress to prostitution and an early grave.

Among the many friends attracted by Mrs. Gaskell was Charlotte Brontë, who died in 1855 and whose biography Charlotte’s father, Patrick Brontë, urged her to write. The Life of Charlotte Brontë (1857), written with warmhearted admiration, disposed of a mass of firsthand material with unforced narrative skill. It is at once a work of art and a well-documented interpretation of its subject.

Among her later works, Sylvia’s Lovers (1863), dealing with the impact of the Napoleonic Wars upon simple people, is notable. Her last and longest work, Wives and Daughters (1864-66), concerning the interlocking fortunes of two or three country families, is considered by many her finest. It was left unfinished at her death.

– EB