Despite elegy’s newfound aetiological and epicizing strains in Propertius 4, the book is a veritable chorus of female voices: Arethusa, Tarpeia, Acanthis and Cornelia join Cynthia (in her belated return) to articulate private sentiment and personal experience in the patriarchal world of which, dead or moribund, they are collatoral damage. This chapter explores how Propertius connects his female cast (which includes cameos also from the legendary Cassandra, a priestess of the Bona Dea, and Cleopatra) with the women of Virgil’s Aeneid, who likewise are evanescent (yet never silenced) victims. Chief among these heroines is the ‘elegiac’ Dido, her volubility in life and silence in the underworld refracted in the monologues of Arethusa, Tarpeia and Cynthia. Present too throughout the book are Dido’s Virgilian analogues (e.g., Camilla, Cleopatra and, perhaps, Helen), while the action of the Aeneid as a whole, from the sack of Troy to the Latin war and death of Turnus, are variously rewritten – by Propertius and Horos in opposing programmes, by Cynthia in the militia amoris of her last hurrah and by Cornelia, in whose ghostly allusion to the Danaids echo the final lines of the Aeneid.