自十九世紀中葉以來，拿破崙事跡以其蓋世武功和帝國霸業，伴隨著法國大革命及其自由、民主的價值以及花都巴黎的浪漫風情，在中國激起無窮想像。梁啟超於1902年發表〈論小說與群治之關係〉一文鼓吹「小說界革命」，將華盛頓、拿破崙等列為「新小說」的「英雄」楷模，結果拿氏最受眷寵，在民國建立前後其英雄傳奇被小說、戲劇、畫報傳媒大肆渲染而家喻戶曉。 本文在梁啟超及晚清「小說界革命」的思想脈絡中，對麥肯齊(Robert Mackenzie)的《十九世紀史》、李提摩太(Timothy Richard)和蔡爾康的《泰西新史攬要》和洗紅主的小說《泰西歷史演義》作比較研究，指出拿破崙傳奇從歷史文本到小說文本的演變，通過不同作者、文體和雜誌傳媒的再現和傳播，反映出對於歷史及民族英雄的不同想像。而小說形式受到大眾欲望的操縱，使拿氏再現發生由「英雄」到「反英雄」模式的轉變，給「小說界革命」帶來反諷和弔詭。 本文通過不同文本及印刷傳媒的比較分析，追蹤「拿破崙」這一指符的文化翻譯之旅的軌跡，說明其對晚清思想和文學的影響不僅是觀念上的，且涉及民族感和情緒的層面。這對深入研究晚清思想和文化，也有方法論的意義。

Since the mid-19th century, Napoleon’s legendary exploits have spread throughout China. Not only because of his military talent and imperial ambitions, but also because of the values of the French Revolution that the espoused, the Chinese were greatly inspired in their search for Modernity, In 1902, Liang Qichao advocated the “Revolution of Fiction,” and asked that the “new fiction” represent a Napoleon-like national hero. Since then, depicted in fiction, drama and other forms, Napoleon became a household name in China. A comparative analysis of Robert Mackenzie’s The Nineteenth Century: A History, Timothy Richard and Cai Erkang’s An outline of New Western History, and xihong Anzhu’s The Romance of Western History, shows how different representations of napoleon were produced through different authors, languages, genres, and printing media, reflecting different imaginations of history and the concept of a national hero. However, manipulated by popular desire, the fictional napoleon became a stereotypical anti-hero and came to satirize the “Revolution of Fiction.” By revealing how the images of “napolun: traveled in China as a process of cultural translation, this paper emphasizes the necessity of an inter-disciplinary approach to the study late Qing literary culture.