本文以屈大均為中心，參照同屬明遺民的傅山、函可、顧炎武之詩文用例。描述明清之際，個人言語（parole／speech）如何因應天氣、社會環境之變化而影響其詩文內「雪」詞之涵義。本文以為十七世紀中葉後中國進入小冰河期，晚明中國文壇興起一股以「冰雪氣」品評文章的風氣。時至明末清初，冰雪的詞義，卻在遺民詩人手中有極大的翻轉。明遺民詩文常以雪自喻，屢在詩文裡以雪為食。屈大均是廣東人。在粵人思考裡，雪往往與雨相繫聯。明末清初，由於小冰河期的影響，廣東也落下了冰雪。此讓屈大均詩中的雪意象總呈現濕冷、艱辛。有意思的是，即便屈大均二次北遊時，其詩中雨雪的氛圍也未曾改變。相較於傅山、函可、顧炎武等遺民「以雪自喻」，雪則被屈大均視為滿清。屈大均〈歲朝詠史作〉有「陰國雪猶吹」之句，雪甚至被屈看成是地獄來的物象。至於詩文中遺民的隱喻，屈詩則以「梅花」為喻。但不同的能指（signifier）如何對應到相同的所指（signified）？本文發現屈大均在詩文裡進行了一場「梅與雪」符號意義的值項（valeur）交換。屈氏就「天一生水」的概念，闡述雪與梅本質上原即相同。可見屈大均在表現個人獨特語言風格時，亦不忘顧及遺民文化圈的語言習慣。

This study primarily focuses on the works of Qu Dajun, although it also makes reference to other Ming loyalist poets such as Fu Shan, Hanke, or Gu Yanwu. The study examines how individual speech habits, or parole, developed in response to changes in climate and the social environment during the Ming and Qing dynasties, and the effect of these developments on the word ＂snow＂ in the poetry of the period. This study is predicated on the assumption that China entered a cooling period after the mid-seventeenth century, during the Little Ice Age. In the late Ming Dynasty, the term ＂the spirit of ice and snow＂ gained currency in Chinese literary circles as an aspect of literary criticism, but during the Ming-Qing transition period, loyalist poets turned the meaning of the phrase on its head. Ming loyalist poets often referred to themselves as snow. Qu Dajun was from Guangdong. For Cantonese people, snow is often linked with rain. But by the Ming-Qing transition period, the effects of the Little Ice Age had extended to Guangdong, and snow and ice in their various forms fell there as well. As a result, Qu's poetry always equated snow with damp, cold, and hardship. Interestingly, even though Qu traveled twice to the north, this symbolic association never changed.In contrast to loyalist poets such as Fu Shan, Hanke, or Gu Yanwu who identified with snow, Qu Dajun associated snow with the Manchurian Qing. For example, Wengshan Poems contains the line ＂the snow oppressing the country continues to blow.＂ Qu even regarded snow as coming from hell. When he needed a metaphor for loyalist poets, he used ＂plum blossoms＂ instead. But how is it that such different signifiers can correspond to the same signified? Our findings show that Qu's poems carry out a valeur exchange between the meanings of the two symbols ＂plum blossoms＂ and ＂snow.＂ Qu used the concept of ＂water born of heaven＂ (＂Tian Yi Sheng Shui＂, 天一生水) to expound on the essential sameness of snow and plum blossoms. This shows that while Qu expressed himself in his own unique style, he nonetheless took the tropes used in loyalist cultural circles into account.