在十九、二十世紀之交的東亞地區，英國維多利亞言情小說的流通，為本地的譯者／作家們帶來新的刺激和挑戰。本文藉由測繪維多利亞通俗作家伯莎‧克雷的《朵拉．索恩》輾轉流傳到日本和中國以後的曲折旅程，梳理了晚清翻譯小說《紅淚影》的文學系譜，並探討在這樣的文本旅行之中所產生的文化譯寫現象及其深層意涵。審視陳梅卿譯述的《紅淚影》，可以發現部分從原著《朵拉．索恩》和菊池幽芳的翻案小說《乳姉妹》繼承而來的情節結構和人物設定，但更引人注目的，卻是對中國文學經典《紅樓夢》的挪用與模擬。對陳梅卿而言，曹雪芹的經典鉅著既是幫助他創造一部「維多利亞」言情小說的媒介，同時也是溝通中西文化的橋樑。《紅淚影》中層見疊出的啟蒙論述，使得此書不僅是言情文學，也可彌補言情小說與啟蒙理想之間的落差，甚至能被視為晚清時期「新小說」之典範。在《紅淚影》的文化譯寫過程中，我們可以清楚看到，晚清文人對於西方世界的想像描摹，乃是透過對域外文本的吸收轉化和對中國古典小說的挪用嫁接而成，而《紅樓夢》作為一部歷久彌新之文學經典的價值，也再一次得到證明。

In the late 19th and early 20th centuries, great inspirations and challenges are brought to local cultural brokers in Eastern Asia by the wide circulation of Victorian dime novels, one of which is ”Dora Thorne” (1883) written by Victorian popular literature writer Bertha Clay. By tracing its circuitous travel to Meiji Japan and late Qing China, this paper presents the literary genealogy of its translated version, Chen Mei-Qing's ”Hongleiying” (1909) and analyzes the cultural adaptations in the travel of the text and their implied meanings. The ”Hongleiying” is apparently influenced by ”Dora Thorne” and Kikuchi Yuho's adaptation ”Chikyodai” (1903); however, a more important issue of Chen's version is its imitation of Cao Xue-Qin's masterpiece ”Dream of the Red Chamber”. Intriguingly, the Chinese classical novel serves here as the mediation between Chinese and Western cultures that helps Chen to create his own ”Victorian” narrative. Moreover, the numerous enlightenment topics discussed in the ”Hongleiying” shape this novel into a model of xinxiaoshuo ”new fiction” that Liang Qi-Chao promotes in his enthusiastic essays. Late Qing literati's imaginations and representations of the Western world are formed by absorbing and transforming foreign texts and by appropriating traditional Chinese novels. It is also in this manner that the ”Dream of the Red Chamber”'s significance and classicality are strongly confirmed once more.