本文旨在透過文本（text)與文境（context)的對話，呈現同一文體內各個 不同音聲之間的關係，這些音聲不僅音質有異，亦有層次與音頻大小之別。有些 音聲亮如洪鐘，堂皇冠冕；有些則細若游絲，杳不可聞。其間差異實亦反映了音 聲與主流論述的契合度，堂皇洪亮的音聲往往隸屬主流一脈，而與主流相抗衡的 異聲，爲了明哲保身，不免藏跡匿行，成爲隱情。然隱情儘管晦而不彰，卻往往 以異軍突起之姿，沓雜主流音聲的威權性，甚或促其變調。也因此，若欲呈現某 一文體深蘊幽邃的原音曲調，則在聆聽朗朗入耳的主調之餘，也須浸淫其中，析 解隱情。
本硏究即以流傳於湖南省江永縣的女書爲例，特別是其中的三朝書，陳述此 一文體如何在唱和父權之餘，也載負著反思、評論並挑戰此一主流意識形態的音 聲。唱和之音軒朗若揭，縷縷不絕於耳，對峙之聲卻晦澀杳然，端賴聚精凝神，否 則極易擦身而過，聽而不聞。究其因，在於前者是透過字裡行間，也就是所謂的 「文本」，傳達訊息，後者卻藏身在書寫和展演文本的情境中，或稱之爲「文境」。 在文本中，江永婦女明申「三從」與未婚少女姊妹情深這四條關係脈絡，但在展 演文本的情境中，她們卻暗地裡開疆闢土，爲已婚婦女建構另類認同的表意空間。 文本乃冰山一角，而文境卻是冰山海面下的基石，冰山上下，明見度有別，但同 出一脈。職是之故，若欲瞭解三朝書幽邃深蘊，以及發聲人內在曲折複雜的情意 音聲和外在的制約因素，則必須將分析視角由「文本」擴及「文境」，而這正是本 文希冀整合的理論視野。

This article demonstrates how a single genre may comprise multiple voices that do not necessarily coordinate but may compete with one another. More importantly, these voices are hierarchical in terms of their audibility: some are easily heard, and some are muffled or easily ignored. The degree of audibility reflects the orchestration of a particular voice in relation to the mainstream ideology. The heterogeneous (resistant or subversive) voice usually masquerades to escape repression; it is hence hardly noticed. And yet, despite its concealment, it contains the potential to throw into chaos or alter even the basic tone of the overall discourse. To capture the intricate qualities of articulation, we therefore need to be sensitive to all vocalizations, manifest and hidden.
To illustrate, I use the female-specific literature known as niishu (female writing) that was circulated exclusively among peasant women in Jiangyong County, Hunan Province, in south China. Specifically, I focus on the niishu wedding literature, called sanzhaoshu (third-day book). My research shows that although sanzhaoshu served as a mechanism for socializing women to the male-defined value system, it also carried women’s reflections and critiques on this very androcentrism. This critical discourse, however, remained unnoticed because it resided not in the text itself, but in its context. The text articulated the male-derived sancong (thrice-following) doctrine and maiden-sisterhood reminiscences, which were in accord with the Confucian social arrangements. The context in which the text was performed created a space where identity and connections could be forged among married women, an activity expressly excluded from patriarchal wedding rituals. To contrast the textual creations with contextual ones illuminates not only how diverse voices may coexist within the sanzhaoshu genre; the interplay of these also highlights how protagonists negotiate between their inner sentiments and social constraints’ and how women’s perspectives are complexly constructed and dialectically positioned.