十九世紀下半葉，來華傳教士漢譯了一批西方基督教兒童小說， 不僅擴展了晚清中國讀者的閱讀和想像空間，也為學界研究晚清翻 譯史和中國近代兒童文學提供了珍貴的原始材料。本文集中探討的 《安樂家》，就是這批漢譯小說中較具代表性的作品。《安樂家》是 十九世紀膾炙人口的基督教兒童小說Christie’s Old Organ; or, Home Sweet Home 的漢譯本，自1882 年於上海出版後，它在晚清中國流傳甚廣， 又成為中國基督教兒童主日學的重要讀本，可謂開創了中國基督教 兒童文學的先河。故事的主人翁卓飛(Treffy) 和利斯第(Christie) 是被 世界遺忘的流浪者，終日飽受貧困、孤寂、恐懼、疾病的煎熬，在 世上沒有安穩的家，無論是借助幻象還是夢境，他們都渴求能得著 天上安樂家的慰藉。可以說，對他界樂園的想像成爲他們自我精神 趨向永生救贖的積極方式。尤其值得探討的是，這部小說具有較強 的藝術表現力，其對景象、音樂與夢境的處理別具匠心，而後三者 作為視覺、聽覺和心理的藝術，往往成為小說人物從現世進入他界 想像的重要媒介。本文將對《安樂家》加以對比評析，考察漢譯本 如何向中國讀者生動地表述並重構對他界的想像。

In the second half of the nineteenth century, Protestant missionaries to China translated a sizable number of western works of Christian children's fiction. These texts not only expand the literary imagination of Chinese readers but also provide invaluable primary materials for the study of children's literature and translation history in modern China. An le jia, a representative work in this corpus, is the Chinese translation of a best-selling Victorian evangelical novel, Christie’s Old Organ; or, Home Sweet Home. Published in 1882 in Shanghai, An le jia became a leading text in Christian Sunday Schools and was widely distributed in late-Qing China. The protagonists, Treffy and Christie, were homeless wanderers suffering from poverty, loneliness, fear and disease. Imagining an other-worldly paradise and thirsting for a heavenly home became something positive in their lives and a spiritual pursuit. It is worth noting that this work demonstrates a vivid artistic creation, as shown in the visual, auditory and psychological representation through image, music and dream. Being a pioneering critical study of An le jia, this paper discusses the ways in which the translated text colorfully expresses and re-constructs the other-worldly imagination of the late-Qing Chinese readers.