The Masque of Pandora by Henry Wadsworth Longfellow

A masque is a form of dramatic entertainment that gained popularity in 16th- and 17th-century Europe, blending poetry, music, and theatrical spectacle. Longfellow chooses this format because it fits well with a mythological theme—masques were typically used to present allegorical or mythological tales. This approach also allows him to incorporate dramatic monologue and dialogue, giving each god a unique voice.

Hephaestus is the Greek god of fire and the forge, known as the divine craftsman who created weapons, armor, and remarkable objects for the gods. In Hesiod's original myth, Zeus commands Hephaestus to fashion Pandora as a punishment for humanity following Prometheus's theft of fire. This is why the poem begins in his workshop—he is the one who brings her to life.

Aphrodite is the goddess of love and beauty, representing the ideal of physical perfection in Greek mythology. When Hephaestus says that Pandora rivals her, he's suggesting he has crafted something that embodies an almost supernatural beauty. In the original myth, each god bestowed a gift upon Pandora, with Aphrodite granting her grace and desire. This comparison elevates Pandora beyond merely receiving Aphrodite's gift; she matches the goddess herself.

Clay is often seen as the material of human beings in various ancient creation myths. In Greek tradition, for instance, Prometheus molds humans from clay. By crafting Pandora from clay instead of divine metals, Hephaestus (and Longfellow) situates her firmly in the human realm rather than the divine. She possesses the beauty of a goddess but is also fragile and mortal like a human. This tension lies at the heart of the entire myth.

This is only the beginning of a much longer dramatic poem. The Masque of Pandora unfolds across various scenes, chronicling the myth from Pandora's arrival among humans, her marriage to Epimetheus, and ultimately the opening of the jar (often misinterpreted as a "box") that unleashes suffering into the world. This initial section sets the scene and highlights the stakes involved.

Longfellow writes in blank verse, which consists of unrhymed lines in iambic pentameter (ten syllables with a stress on every second syllable). This meter is the same one Milton used in Paradise Lost and that Shakespeare adopted for his plays. It lends the poem a formal, elevated tone that fits the mythological themes without introducing the sing-song quality that rhyme would create.

"Cinctured" refers to being bound or encircled — her hair is styled or adorned, reminiscent of classical Greek fashion. Longfellow uses this term to create a vivid image of Pandora as if she were a figure from ancient sculpture or vase painting, emphasizing that she embodies both art and life.

The "æ" is a ligature, meaning it's a combined letter, that was often used in 19th-century English printing for transliterating Greek and Latin names. It stands for a Greek diphthong. Longfellow's choice of spelling shows the academic norms of his era and indicates that he's drawing from classical sources rather than Roman versions.