ra works her word magic, luring Agamemnon into their dark home, Cassandra is seated in a chariot listening intently. After the successful victory with her husband, Clytaemnestra turns to deal with Cassandra. Though language has been her great weapon thus far, it breaks on the absolute silence of the prophetess. The queen first offers a sinister invitation to the festivities, which falls on a silent refusal. Cassandra's apparent lack of respect shown towards Clytaemnestra spawns rage within the queen's veins.
             She's mad, evil genius murmuring in her ears
             She must learn to take the cutting bridle
             Before she foams her spirit off in blood
             And that's the last I waste on her contempt! (1063-1068)
             Even after Clytaemnestra's invitation and threat, Cassandra still refuses to speak until the enemy, bested for the only time in the play thus far, leaves to go inside the home. This keen sense of impending doom is the first indication of Cassandra's prophetic ability. She saw through the seemingly warm words and fraudulent gestures of kindness offered by the queen. After Clytaemnestra is out of sight, Cassandra screams in frenzied horror to her prophetic creator, Apollo, pleading for a reason why he has led her to this house of death. It is through this initial plea that we are able to glimpse into the vulnerability of this poor p
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