every character in agamemnon sets fire to language in a different way. klytaimestra is a master of technologies, starting with the thousand-mile relay of beacons that brings news of the fall of troy all the way from asia to her in the first scene. she reenacts the relay in language that is so brilliant and so aggressive, she is like a conqueror naming parts of the world she now owns. she goes on to own everyone in the play - the chorus by argument and threat, agamemnon by flattery and puns, aigisthos by sexy cozening - with one exception. kassandra, she cannot conquer. kassandra’s defence, which is perfect, is silence.
anne carson, preface to the agamemnon of aeschylus in ‘an oresteia' (aeschylus, sophocles and euripides, trans. anne carson)