Cassandra speaks in quick succession of the cannibalistic feast of Thyestes" children: "babies / wailing, skewered on the sword, / their flesh charred, the father gorging on their parts" (1095-1097), the breeding of Cassandra's and Aegisthus" vengeful spirit that is "growing, massing, deep in the house" (1102), the actual murder of Agamemnon, the identification of the murderess, and predicts her own death in a sorrowful revelation when she states that "The knife waits for me." (1150) Cassandra is flooded with new information, and is adjusting to her role as the sole person aware of both the past and future events of the kingdom. The chorus continues to be confused and unaware of the danger that lies on the other side of the castle walls.
Cassandra and the chorus engage in a fast paced conversation consisting of compact sentences, with Cassandra relaying her visions as quickly as receives them, and the chorus questioning their meanings just as swiftly. The prophet wails wildly concerning the events she sees, and the chorus can do little more than produce befuddled replies, attempting to understand the meaning behind her screams. Aeschylus has effectively used Cassandra as a means for building and maintaining the suspense created by the impending doom of the unaware Agamemnon. As her visions are spoken, and the tone of her voice is understood, her credibility begins to be restored as is evident by the comments of the Leader of the Chorus: "I"m no judge, I've little skill with the oracles, / but even I know danger when I hear it." (1132-1133). A major change takes place in the structure of the Chorus" responses to Cassandra's visions for the remainder of the play. Confusion is replaced by intelligent questions resulting in a calmer, more understandable dialogue between the two parties.
This change in the structure of the conversation coincides with a major development in the character of Cassandra.
