The story begins in medias res, "in the middle of things," and then has flashbacks / stories told by characters to explain the action leading up to that point. The Iliad begins almost ten years into the Greek siege of Troy.
The story begins with an invocation or prayer to a god or gods. The poet begins by calling for a blessing, for the source of his inspiration to help him in this poem. The poet positions himself as a vessel for the divine inspiration. The opening lines of the Iliad:
The rage of Achilles — sing it now, goddess, sing through me
the deadly rage that caused the Achaeans such grief
(Mitchell, 2011)
Rage — Goddess, sing the rage of Peleus’ son Achilles,
murderous, doomed, that cost the Achaeans countless losses,
(Fagles, 1990)
Anger be now your song, immortal one,
Akhilleus’ anger, doomed and ruinous,
that caused the Akhaians loss on bitter loss
(Fitzgerald, 1974)
Sing, goddess, the anger of Peleus’ son Achilleus
and its devastation, which put pains thousandfold upon the Achaians,
(Lattimore, 1951)
The wrath sing, goddess, of Peleus' son, Achilles, that destructive wrath which brought countless woes upon the Achaeans,
(Murray, 1924)
Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans.
(Butler, 1898)
Achilles' wrath, to Greece the direful spring
Of woes unnumber'd, heavenly goddess, sing!
(Pope, 1715)
In most epics, the majority of the known world is used for the setting. From Olympus to Hades, from the Pillars of Atlas to the Hellespont to the Sahara, the stage for these epics is huge.
The story begins with a statement of the overarching theme. The plot was familiar to all audiences, but the poet would begin with announcing what this particular recitation of the story was to be about. Also known as the Praepositio.
Sections of the text which do not further the action of the story, but are asides or repetitions. The themes are usually associated with the main action, so they reinforce those themes. Their redundancy allowed the audience to remember the long arc of the story as well as background material. Many times they are topical, making reference to other historical events.
The use of (usually extended) comparisons to describe or explain a person, place, event, or action.
Just as an angler poised on a jutting rock flings his treacherous bait in the offshore swell, whips his long rod-hook sheathed in an oxhorn lure — and whisks up little fish he flips on the beach-break, writhing, gasping out their lives. . . . so now they withered, gasping as Scylla swung them up her cliff. . . . (Odyssey, Book 12)
The members of the Pantheon take sides in each conflict, and intervene in the lives of individual characters.
Pallas Athena, harboring kindness for the hero, drifted a heavy mist around him, shielding him from any swaggering islander who'd cross his path. (Odyssey, Book 7)
Alternate descriptors used to rename and/or describe a person or a god. The Greeks are called "Achaeans," "Argives," "Danaans," and "Hellenes." Agamemnon and Menelaus are sometimes called "Atreus's two sons" or "the twin eagles."
Signs which foreshadow or suggest future events.
While they were busy stripping the armour from these heroes, the youths who were led on by Polydamas and Hector (and these were the greater part and the most valiant of those that were trying to break through the wall and fire the ships) were still standing by the trench, uncertain what they should do; for they had seen a sign from heaven when they had essayed to cross it- a soaring eagle that flew skirting the left wing of their host, with a monstrous blood-red snake in its talons still alive and struggling to escape. The snake was still bent on revenge, wriggling and twisting itself backwards till it struck the bird that held it, on the neck and breast; whereon the bird being in pain, let it fall, dropping it into the middle of the host, and then flew down the wind with a sharp cry. The Trojans were struck with terror when they saw the snake, portent of aegis-bearing Jove, writhing in the midst of them, . . . (Iliad, Book 12)
A long, detailed list of objects, places or people. Also known as Enumeratio. The most famous of these is the list of ships in Book 1 of The Iliad. This catalogue lists 29 contingents under 46 captains, accounting for a total of 1,186 ships. Using the numbers given for the Boeotians, of 120 men per ship, 142,320 men were brought to Troy.
Extended and elaborate formal speeches by the main characters. These usually occur during meetings and assemblies, but can also happen in battle.
The use of set or stock phrases, which may or may not be due to metrical considerations. These phrases are repeated many times (connecting this with both the oral tradition and the folk literature tradition). There is also the insertion of common scenes (journey to the underworld, etc.).
The main character or protagonist is heroically larger than life, usually the source and subject of legend or a national hero, and represents what the culture of the epic valued. The strength and stamina of Achilles reflects on all the Greeks (his spear is 18 feet long, and the latch of his corral takes three men to lift, but he lifts it with one hand). The action, often in battle, reveals the superhuman strength (physical, mental, moral) of the heroes as they engage in acts of valor and courage. In short, the epic presents an entire society in microcosm.
However, the heroes are also presented with clear eyes. The audience sees his human failings as well as his virtues (e.g., Achilles sulking in his tent; Hera warning Poseidon that if he doesn't help the Greeks, Zeus will sulk on Mount Ida).
The poet pays attention to the armor and weapons of the hero. Sometimes the gods themselves give or place these arms on the hero (e.g., Achilles' shield) as a metaphor for strength so great it must be divine.