Inspired Poetry

I thought I would start with some of my best work.

For a university project I wrote a few poems based on the paintings of a Portuguese painter named Paula Rego.

Along with the poems, I have written some comments on the paintings themselves. I hope you enjoy reading them, and also enjoy the paintings.

Abortion Series

Paula Rego found her inspiration to paint The Abortion Series in her anger at the prohibition of abortion in Portugal. That is, unless the pregnancy should harm the mother. In 1998 there was a referendum in Portugal for the legalisation of abortion, most people did not vote, due to shame, so those against it won. This infuriated Rego, and she decided to make her statement. In this series of paintings, the women appear in degrading positions, and seem to be going through plenty of pain, either laying or sitting uncomfortably. However, particularly in Untitled VIII, in which the woman has her legs up facing us, she has a triumphant look on her face, suggesting that despite what they are going through alone, the independence and freedom to do what they choose is reward enough for them.

Untitled VIII

The woman in this painting has strong legs, wide shoulders, rough facial features; she appears defeminised, with a manly body. I believe this might be representing strength and female toughness. This contrasts with Rego’s experience of women being oppressed by men

The woman’s facial expression- triumph- due to freedom reflects that despite being alone, she makes her own decisions and is happy to be independent.

The background- dark and rough- and the stained sheet and dress (in-between her legs) and her dirty feet allow the painting to have more of an impact, without the need for it to be gruesome.

Untitled VI

It seems as though she is having an orgasm, as opposed to an abortion, which might be attempting to show the pleasure of being independent and in control of her own life.

Untitled IV

This painting is different from the others in this series. The woman seems more submissive, contorted with pain and almost in the foetus position. Her facial expression- eyes shut tight and mouth pressed shut- demonstrates that despite pain she does not complain, not even though grunts.

However, it is similar to others in its use of objects, such as the bucket, to portray the horror of abortion. Dark in contrast with her white dress and skin, the bucket is painted in such a way that it appears disgustingly dirty.

Poem

You sitting there, with your legs wide open, 

your knees close to your chest, 

pressing against your sore breasts. 

You who yelp in pain, 

whom I have once seen with your books 

and pencils and crayons. You with your hair down, 

that only yesterday I saw tied in a white 

bow. You who through grunts and pain and blood 

so purposely commit murder. 

Why does your face emanate triumph? 

Your expression through the tears and sweat 

seems of happiness. Your white dress stained 

in red, thick blood seems to illuminate your winner's 

smile. Could it be relief? Or simply contentment 

for your victory? At the knowledge 

that you are saving your creature from a life 

of pain and misery? Could it be that you 

have foreseen your creature's abhorrent 

destiny? You with your feet 

painted red, your growing light 

dress can no longer cover your dead 

 nature bursting out.

The Maids

The Maids, by Paula Rego, is based on a play which, in turn, is based on a real life story. In France, two sisters were hired by a rich family, the Lancelins, as maids. They have always been close to each other and, this time they even got to work together. One night, during an electrical storm, all the lights went out. The oldest sister got into an argument with their mistress, which got out of hand. She told her younger sister to help her by "tearing her eyes out", referring to Madam Lancelin, and together they massacred and gouged out the eyes of the mother and daughter. When the master got home he found the bodies, and the maids were asleep in their bedroom. It has been argued that they were overworked and underpaid, which drove them to madness. However, they had been previously in an institution, and once arrested the oldest could not cope with being away from the youngest. When they were together in prison, their conversations suggested potential incest. The oldest sister, was originally sentence to death, but was allowed to live in prison for the rest of her life, whereas the youngest was released after a few years for good behaviour, and due to belief that she was influenced by the other. Furthermore, due to being without her sister, the oldest died soon afterwards, while the youngest lived until the 21st century.

My interpretation is that the wild boar is a symbol of slaughter. This is due to the fact that in Portugal there is a tradition called "Matança do Porco", in which in the countryside a pig is slaughtered by a family, to represent abundance.

The boar has a threatening look about it, almost as if it is smiling, like the maids.

The figure of Madam Lancelin, according to Rego, “could be a man dressed as a woman”.

It is interesting that she should be portrayed as a man, since men usually are represented as the stronger gender. However, here, Madam, looking like a man, is shown to be submissive by the way she sits head down and recoiled, in contrast with the maid behind her, who is standing with her arms and legs far apart, open. Thus, conveying Rego's representation of women as being stronger than men.

The maid helping the daughter seems to be suffocating her.

In terms of symbolism, there is an ominous shadow tree, which appears to have invisible arms reaching out to touch (potentially strangle) something.

The maids are portrayed as foreign. One appears to be of African descent, while the other may be Hispanic.

The flower, calla lily is associated with funerals, death, but also with purity due to white. Furthermore, it is on the table next to the black boar, which contrast with the white of the calla lily.

Contrast is significant in this painting, particularly between light and shadows, bright colours are juxtaposed against shadows. This gives the impression that things are not as they seem, as if darkness is hiding in the light's shadow. This is reflecting the maids, who are apparently nice, smiling, thorough workers, when in reality they are murderers and incestuous.

Poem

The story of the two maids is a dreary one. 

Their parents were separated and their eldest sister a nun. 

Aside from each other they had no one else. 

After being all alone in institutions, they always 

tried hard to work together. Until the Lancelin 

family took them in. They became live-in maids, working 

for the father, mother and daughter. Christine and Lea 

were quiet and mainly kept to their common interest, each other. 

One evening, they were helping miss and mistress get ready to go out. 

Mother and daughter were to meet with Master Lancelin at a friend's house. 

The sun was beginning to set, it was beautiful. The blue 

sky was covered in red and orange, until the two colours fused 

together, so that the sun seemed as if on fire. Once she had finished 

her work, Lea went up to her bedroom, where she waited 

for her sister who had stayed behind. Outside, a storm was brewing, and as 

the sun disappeared, a swarm of dark grey clouds 

had swooped in and merged. As the first ray of lightning struck a scream 

was heard throughout the house. Lea ran downstairs to her sister's aid, but it was not Christine 

who needed help. Christine and the Lancelin women got 

into a fierce argument, screaming and scratching each other. Poor 

Lea was weak, and under her sister's orders she did "tear Madam's eyes out". 

Now the rough roaring sound of thunder made the house 

shake with terror. In the darkness it was difficult to see what was going

 on, but with the continuous cries and squashing 

sounds, it was not hard to guess. In a fit the sisters stretched 

out their arms and, so they admitted, with their hands, gouged 

out Madam's two eyes, and one of miss's eyes. The storm continued and after 

this, they got a kitchen knife, hammer and pewter 

pot, and continued to beat and slash up their mistresses 

until they were unrecognisable. 

Master Lancelin, worried that his family had not yet arrived, 

went home to check on them. Once he managed 

to walk in, by the candle light he saw the unrecognisable bodies 

of his wife and daughter. One last lighting and thunder struck. His daughter's 

eye was a few steps away from her carved face. As for 

Madam's eyes, they were located in the scarf around her 

neck. The storm cleared. The maids were 

found upstairs, laying in their bed together. 

Nursery Rhyme Series

Baa, Baa, Black Sheep

This painting is based on the nursery rhyme of the same name.

There is a criss-cross shadow in the background, and the three bags full, which are mentioned in the rhyme, appear on the right.

The 'sir' which the black sheep is addressing in the rhyme is substituted here by a girl.

The black sheep is elegant, taller than the girl, has a strong body, and it is staring expectantly at the girl with a confidant smile, as it embraces her. This portrayal allows the audience to recognise it as a male sheep. 

As for the girl, although we can't see her face, her hand gesture shows curiosity, as if she is about to stroke his fur. She is seen about to place her hand on top of his heart, thus possibly symbolising a deeper emotion, such as love.

The scene is eroticised, they appear as though they are about to make mutual love.

The painting is voyeuristic. This is shown by the figure of the “boy who lives down the lane”, who seems as though he is looking in through a window, watching the romantic scene.

The boy's body language looks as though he is leaning to see better, this might possibly be Rego’s way of addressing the audience in a somewhat comical way.

The portrayal of the sheep and the girl resembles the story of little red riding hood.

Poem

"Baa, baa, black sheep

why are you so tall?"

"It's so that I can see you better

dancing wall to wall."

"Baa, baa, black sheep

why do you stare at me so?"

"Your beauty's great,

yet I await for your dress to un-sew."

"Baa, baa, black sheep

why does your fur feel so smooth?"

"The better for your hands to touch it,

as your skin so suave against my hoof."

Three Blind Mice

This story is also based on the nursery rhyme of the same name.

Rego made two paintings based on this rhyme.

In one, the farmer's wife holds two tails in her right hand and the carving knife in her left hand, she is about to cut the third mice's tail, when he faces her, showing his blind eyes as if begging her not to do it.

The woman has a rural, strong, voluminous body.

The cruelty of the rhyme is portrayed in the two mice's amputated tails, showing the frailty of the mice, as they are walking around disoriented. It also brings life to the rhyme and painting, as the mice seem human, thus we pity their condition.

In the second, less known version, the farmer's wife resembles Eugene Delacroix's Liberty Leading the People, due to the position of her body and the flag in the background. Rego affirms that she did have the French revolution in mind.

The knife does not seem as threatening in this version, as it is less sharp, but the mice are portrayed in the same way, with one pleading next to her, and the other two stumbling around, terrified.

This time the woman has all three tails in her hand, thus she completed her mission, with a triumphant look about her. This makes this version more terrifying than the other.

In the two version, the two mice away from farmer's wife seem as though they might be performing a ritualistic dance.

Poem

Three blind mice, three blind mice

see how the dance, see how they dance

one begs and pleads to the farmer's wife

not to cut his tail with a carving knife

whilst the other two cry for their life

and jump around as if in a trance

the poor, oh poor, three blind mice.

Three blind mice, three blind mice

now your tails are held by the farmer's wife

"See how I carved you with this knife!

Oh, wait, you can't, you three blind mice."

Pendle Witches Series 

Him

This image was published in a book called Pendle Witches in which a selection of her paintings was accompanied by a selection of Blake Morrison's poems.

The theme of man as predator, preying on innocent girls is reflected in the male body with the head of a fox or wolf. The expression on beast's face is sad, although he is forcefully staring at the audience.

The head, particularly the mouth, is monstrous enough to hurt the defenceless girl.

However, she does not seem afraid, much like in Baa, Baa, Black Sheep, she seems calm and curious, and is stroking the creature's face. It looks like she is trying to remove his head, as if she believes that it is a mask and not his true face.

In the background, there is a scarecrow with a witch's pointy hat on; this is possibly alluding to a witch being burnt at the stake, or to the story of the Wizard of Oz. It might also be alluding to beauty and the beast, in which fairy-tale a cursed man seen as a beast is restored by a beautiful girl who is not afraid or repulsed by his appearance.

Poem

My pretty, my pretty

run away from the big bad wolf

you don't know what he might want

to eat you up and eat you whole

and then toss you in the bin.

My pretty, my pretty

I know those eyes, full

of questions and curiosity

you seem so calm, so unafraid

do you know it or are you brave?

My pretty, my pretty

you rest your hand upon his face

not even I would want your little 

dog, though he may be in the open

I would rather close his book.

My pretty, my pretty

but you want him as he wants you.

Don't you?

Mist IV

This painting was also taken from Pendle Witches.

In the background a semi-nude, elegant woman appears relaxed, as if in post-coital afterglow, or as if she has just gotten out of a relaxing bath.

On the bed, one girl lays on top of the other. The one on top seems to be sound asleep, despite the odd physical position she is in, whereas the one underneath seems captivatingly pretty with wide seductively glaring eyes.

Could the erotic image in the background be some sort of indication or symbolism for relationship between two girls?

Poem

They rest together

in the after-glow.

Their chests gentle

waves in the sea.

One is already

fast asleep in

the land of dreams.

Her dream almost

visible, almost

palpable, is of peace.

No, not that sort of peace

that we want on Earth.

To feel light as a

summer breeze

lightly caressing 

her back, lifting

the minimal hairs on it.

Her partner awaits,

eyes wide open,

for something yet to come.

Maybe sleep, maybe

that peace, which

asleep she has

found. But not

her partner, that

one has yet to find it.

Her entrancing

fixated wide eyes

cannot hide her unrest.

Her lips, at least,

seem to be smiling.

Peter Pan series

Mermaid drowning Wendy

This painting is based on the children’s story, Peter Pan, by J. M. Barrie.

Rego stated in a letter that the mermaid is also partially based on her own mother.

This image shows a mermaid drowning Wendy.

Here Wendy has no Peter Pan to save her, as his shape can be seen lying on the rock in the background.

Bright against the dark background, the mermaid seems even more terrorising as she drowns defenceless Wendy.

Unlike the common idea of beautiful seductive mermaids, this one is horrendous, and can scarcely be imagined seducing men into the water to drown them.

Her body is masculinised, through muscles.

Her facial expression shows pity as she looks down at Wendy. It is almost as if she cannot help herself, as if she is drowning Wendy against her own will.

She has two tails and her face looks deformed, thus she was born an aberration.

Despite mythological mermaids being portrayed as pretty and beautiful they are horrible beings, even in Peter Pan, thus perhaps this mermaid is reflecting on the outside how ugly they are inside.

She is also showing sorrow, perhaps she is an outcast trying to fit in.

Poem

"Oh, my, what is that?"

"Keep it away from me."

"I certainly cannot give it my breast,

what if it sucks my nipple off."

"I refuse to nurse it."

"I will not let it play with my children."

"I cannot teach it our culture.

With that face, how is it supposed

to seduce men, to entice them,

to lead them into our seas?

Not even men would fall

for it. They may be idiots

but they still have standards.

Its muscles, and sunken, and

distorted and inmermaid face

will never do for our world."

"Ha, ha, ha! You want us

to be its friends? Its dry

hair, its small eyes and 

mouth, its giant nose and

ears. Not to mention the fact

that it has TWO TAILS!

It will never fit into our group."

"How much will you pay me?

I shall only mate with it if I

receive constant fish in my

plate and have as many

pearls as a king. Its chest

is wider than mine, and its

breast smaller than my

father's. It will never do."

"Peter said it is the cross between

a shark and a human, whilst

they rubbed against Nessie."

"Oh, wow, Peter, a mermaid!

She is so beautiful!

May I please see her up close?"

Inmermaid: Although it is not a real word, I have used this as a play on the word ‘inhuman’.

Wendy and the lost boys

This painting, also based on Peter Pan, is fairly simple and enchanting.

Wendy, as a maternal figure, portrayed as a nanny, seems to be holding one of the boys' feet, whilst the other three naked boys gather around her waiting for their turn to receive some affection.

It portrays the purity of children, walking around naked.

The naked older boy in background, who seems to be playing a wind instrument, might be Peter Pan, and even he seems peaceful and happy.

The painting has overall simple and bright colours, such as the blue sky, red ribbon on Wendy’s head, and the boy’s yellow top.

This painting is contrasting with her painting entitled Flying Children, in which there is also a bright blue sky, consuming the entire painting, seemingly positive and cheerful, but a small dark blue figure on the left confronted with a bird with threatening wings is a hint of something negative. In this painting, however, nothing seems to indicate possible harm in the beautiful tropical setting.

Poem

Tugging at his mother's dress

he does not even know who

she once was to the lost boys.

He does not even know

where she once lived 

adventures, more exciting

than anything he could ever

think of. He cannot even

imagine the things she has seen.

A boy who taught her how to fly.

a star that shone so bright

it guided her to a land where she

would never have to grow up.

The child would never know

that he might have never been

born. She met fairies and

mermaids, fought pirates 

and Indians, although the boy

would have preferred to hear

about cowboys. He thought 

it fascinating that despite the

grey hairs, his mother still had

such a wide imagination, and

still fed the child in her, telling

him all these stories, and

playing all the characters.

When his father got home

and he would jump into his

arms, she would always end

her stories in the same way,

with a smile on her face

and staring into daddy's eyes:

"…and that's why your father

will always be my one true hero."

Wendy's song

This image is also based on Peter Pan.

Wendy seems to be busy concentrated on doing a chore

She seems younger than she is in the book, although she appears to be tougher and more authoritative.

Wendy is stirring a bucket filled with blood (once again Rego is using a bucket to convey horror. However, this time she does not simply concentrate the gore on the bucket)

The painting is tinted with red blood.

It has a realistic look, with wind reflected by Wendy's flowing dress movement. This allows for the highlight of the pregnancy.

It is horrific, with red, symbolising blood and loss of innocence, contrasting with Wendy's white dress, a symbol of purity.

Cruelty and suffering are portrayed by the bucket, filled with blood, and the foetuses in the windows looking at the scene.

Rego is possibly using irony, as red roses, usually a symbol of love, cover the house where the foetuses are.

Rego claims that this was, in a way, the fore bearer of the abortion series.

Poem

Round and round and round

it goes, clockwise because

rumour has it, anti-clockwise

stirring makes life go backwards.

Round and round and round

it goes, anti-clockwise because

rumour has it, that way life goes

backwards. Back to when life

was easy. Back when Neverland

was safe. Back when Peter was still alive.

When Hook died- well, he returned

to Earth, so he may as well have died-

Peter lost his will to fight. Now that

Wendy had chosen to stay and live, 

the boy of her life chose to give up.

So Wendy, alone, had to stay in

a land where boys, forever boys, 

had no leader, ruled themselves.

One night, Tootles tip-toed into

her bedroom, and slid into her bed.

Taking off his bottom rags, he satisfied

his own pleasure then and there.

Although his genitals were the size

of his boyhood, it was still enough to

spill the blood of Wendy's dead innocence. 

From that day forward Tootles, Nibs, 

Slightly, Curly and the Twins would

go into Wendy's weak cave, 

made of palm tree leaves, and

thrust their sorrows and frustrations

into Wendy's virginal body, and leave

them behind. It was not too long

before her tummy grew and it took

even less time for it to shrink back.

One day, whilst the boys were out

living their adventures and Wendy

was washing their clothes, in the river,

the water around her began to run red.

She ran home with a belly-ache

and asked her fairy what she should do.

With a black bucket by her side, Wendy

lay on the floor, contorted with pain,

opened her legs wide, and tried to

free herself from the agony. Her fairy

was by the side of her head, wiping the 

beads of sweat from her forehead and

her tears from her eyes and cheeks,

with a doll's handkerchief. Wendy

did not scream. And when the boys

got home, and asked Where had her

massive tummy gone? She simply

shrugged and said The stork must

have come in the night and taken

it to join Peter. What fun they must be having.

The Children's Crusade series

Ecstasy

In this painting, flames can be observed consuming a child tied to a wooden wheel.

A wild boar on fire walks next to the old woman, which might symbolise sacrifice, as in The Maids.

A girl of empty eyes watches an older woman who seems to be addressing an invisible someone, perhaps God.

The image reflects the effects of religious hysteria.

According to Rego, these elements were taken from a medieval book about tortures.

She also explained that there was a sexual element, in the acknowledgement of the girl and woman's genital organs thanks to the folds of their dresses.

Religious significance is contrasted with the cleavage of the older woman, highlighted by her low cut dress.

There is an overall symbolism of womanhood- V shape- the old woman's red (significant colour in womanhood) dress, over the area of her genital organs; the tree branches; the girl's dress, over the area of her genital organs; the design of old woman's low cut top and neck.

Poem

Oh, dear Lord, that my back should burn

in such an infernal flame, that my dark,

soft fur should turn to dust and fall

on the earth beside by hooves.

Oh, dear Lord of the black beauties,

like me, that I should perish next

to this creature, by you forsaken,

I shall no longer be welcome into

your kingdom. This sample of such

an abhorrent species. With so much

evil within them. Why was I to be your

sacrifice? Was I not worthy of your kingdom

Oh, great lion, who art in the paradisiacal

fields, how have I sinned? I have fought

in thy name, and for my fellow animals.

I have loved my neighbour, and

especially his mate. I have punished

all those who were not your followers.

I have slaughtered only to feed, and 

killed only for survival, and sacrificed

others only to prove my untimely

devotion to you. I have been your blindly

faithful servant until the end. Why

do you punish me so? With such a

slow agonising death? I have

procreated, carried on my species,

and taught them all your ways.

They shall grow leading the same

life as I have. I cannot find a reason

for this cruel punishment. I have

shown females their proper place,

told them how superior males are.

Just as you have taught us males

how important we are, to hunt, to

procreate, to educate the young ones,

and how females must help us

carry on the various species you

created and look after our offspring.

Oh, dear Lord, I do not deserve such suffering.

I have never sinned.

Lost girl

According to Rego this painting shows a girl who has been travelling for a long time and during her travels she had a baby, but hung him so that she could go on with the other crusaders.

In the background we see what looks like a castle and a black dog playing on top of a massive dog. The latter seems to be tired but smiling.

It is horrific, due to the hanged baby, which could be said to be appeased by the fact that it is facing other way.

The girl seems pensive, though not disturbed by the thought of her dead baby. If possible her lips might even be smiling; her eyes however, seem saddened.

The tree leaves above her resemble fire, approaching her, which could be seen as being about to consume her, possibly the fires of hell.

Poem

The walk had been long and the extra weight 

did not help. We stopped, to rest, near an enclosed 

forest. My large rags could no longer conceal 

my condition. One day, when the wild wind forced 

my clothes to stick to my body, wet with exhausted 

sweat, the master approached me. I lowered my head, 

and although I could only see his boots encrusted with dirt, 

I felt his eyes on me, as if trying to penetrate through 

the top of my head, into my skull. None of us had ever 

dared to face him, so we did not know what colour his eyes 

were. Until then I had imagined them empty, just two black 

holes. But now I imagined them two perfectly round 

hypnotising dark circles. “You better not have told anyone.” – 

He grunted. I nodded. “Good.” I imagined his lips 

curving into a half smile, if you could call it that. 

Suddenly a sharp pain took over my body. He 

walked away and sent his wife. The woman, thrice 

my age, helped me into the woods, and between 

the trees by body expelled a dirty, bloody, unholy 

thing, as it would a virus. Holding the cord 

connecting the cub to me, the master’s wife 

surrounded the babe’s neck with it and pulled 

tightly on both sides. Once the kid was blue, 

she gave me her bread knife, and I cut the cord. With 

her dress she wiped my face and gave me clean 

rags to wear. Then she retrieved the knife and began to chop 

the dead creature into pieces, picked up the tiny 

feet, the tiny legs, the tiny hands, the tiny arms, 

the tiny stomach, the tiny chest, and the tiny head, 

and threw each piece into all the bushes she could find. 

Walking away, I glanced back to see a dog chomping 

the remains of my offspring. When we emerged among 

the crusade the master announced it was time to go on.

Suckling

This painting shows a darker side of love, aggressive and consuming.

A typical grandmother's house is portrayed, with sewing machine on the table in background.

The image is uncomfortable, as the child looks too old to be breastfed and woman is too old to breastfeed.

It might be eroticising not simply breastfeeding, but the relationship between grandmother and grandchild.

It might even be interpreted as a comment on child abuse, if the grandmother figure is forcing the girl to suck her nipple

There is a figure in background, on the floor, which could be a doll. If so, it does seem as though the place is occupied by a child, or it might simply be infantilising the grown girl.

Poem

Don’t forget your coat.

Don’t forget your hat.

Don’t forget your shoes.

Don’t forget your bag.

Did you have your breakfast?

Do you have your lunch? Snack? Dinner? 

Don’t forget your scarf, you 

know the weather has gone colder.

Let me comb your hair,

yellow as the sunshine.

Let me put your dress on you,

a dress that once was mine.

Let me feel your skin, soft

and radiant, just as my own

used to be, when I was your

age. My, how you have grown!

Let me run my fingers through

your body, as I help you bathe.

If I only had again your age,

that’s the most I crave.

Come help me now, I

have to sleep, but can’t get

into bed alone. Come help me 

now, and don’t be scared, let

me hold your hand.

You can hold my hand,

and I’ll lie next to you,

until you fall asleep. But

don’t squeeze my body

quite so tight. I can’t breathe.

I’m sorry my dear,

I just love you so much

It’s hard to let you go.

Almost as hard as it was

to lose my youth,

so many years ago.

I understand, granny

you miss your youth,

but don’t take it out on me.

kissing my lips, holding my 

hips, hugging me, grabbing

my skin so tightly won’t 

bring it back, don’t you see?