The treatment of secondary characters is essential to the construction of many of the letters in Ovid’s Heroides. As the women of “lesser” value take the stage, Ovid grants them distinct and intricate voices. They long to communicate with their distant men and to make their opinions and assertions tangible. But they are not the same. No, absolutely not! And it is this variety of women that gives the complication its true power. The correspondences would be rather forgettable if not for their blatantly contrasting personalities. Yes, the letters often deal with love. Yes, they frequently deal with desire. And yes, the theme of infidelity reemerges. But these are not simply the musing of the same woman tossed into various household and relationships. The messages strikes different chord that, when layered, creates a thick enmeshing. There is an accumulatory effect that leaves the reader well aware of the diversity within women (and men): Penelope reiterates the prevalence of fickleness. Phyllis succumbs to unwise love, and finds refuge in nature. Briseis fears loneliness. Old Phaedra plays innocent. Oenone grapples with an affair. Hypsipyle allows power and love to tear apart her heart. Dido challenges Aeneas to find a better match. Hermoine whimpers her hopelessness. Ariadne feels robbed. Canace falls pitifully to the victimhood of incest. Medea seeks revenge. Laodamia reveals an almost ideal love. Hypermestra is oppressed by virtue. Sappho loses inspiration. Helen illuminates consequences. Hero invites disaster and drowning. Cydippe selects a manipulative fool. Ah, what variety! It seems as those the female form herein in multitudinous. Ovid expands the role of a woman, not only by allowing Her to play a larger role, but to variegate Her identity; she is sharp and soft, witty and naive, powerful and weak. As an amalgamation, She reminds the absent men of the world (past and present) that Her treasures are abundant and waiting to be recognized.