In the first lament of Andromache for Hector, as we saw in the anchor comment at I.06.407–439, she was already lamenting the death of Hector before he was even dead. As for her second lament, here at I.22.476–515, she sings it when she sees the corpse of Hector for the first time. As for her third lament, to be featured at I.24.723–746, Andromache will sing it on the occasion of Hector’s funeral. The second lament here is in some ways a preview of the third, which as we will see is technically the most formal of Andromache’s three laments. The beginning of Andromache’s second lament is signaled here at I.22.476 by the technical poetic term amblēdēn, an adverb that means ‘making a start [in performance]’ just as the adverb hupoblēdēn at I.01.292 means ‘continuing [in response]’. As Andromache starts to sing her second lament, the word that refers here at I.22.476 to the form of her singing is the verb goân ‘make lament’, corresponding to the noun góos ‘lament’. We have already seen the noun góos at I.18.051, with reference to the lament sung by Thetis for the future death of Achilles. This form of lament, góos, is conventionally sung by female members of the bereaved family, and there will be more to say about this form in the comment on I.24.720–776. For the moment, however, I focus on what happens after Andromache has finished singing her lament at I.22.476–514. Now the Trojan women who are attending her respond to her lament by continuing it with their own lament, in antiphonal performance, at I.22.515: ‘So she [= Andromache] spoke, and the women wailed in response’ (ὣς ἔφατο κλαίουσ’, ἐπὶ δὲ στενάχοντο γυναῖκες). The antiphonal refrain here at I.22.515 is signaled by the verb epi–stenakhesthai ‘wail in response’, matching the antiphonal refrain at I.19.301 in response to the lament of Briseis. See the anchor comment at I.19.282–302. So, the second lament of Andromache, as we see it come to a conclusion at I.22.515, is a classic example of a group performance as rounded out by way of an antiphonal refrain. For more on such group performance, see again the anchor comment on I.19.282–302, where it is emphasized that Briseis the Aeolian is featured as a distinctly choral personality, analogous to the personality of Sappho herself in the choral songs attributed to that Aeolian prima donna of a later era. See also anchor comment at I.06.407–439 on: three laments by Andromache, part 1; and anchor comment at I.24.723–746 on: three laments by Andromache, part 3.