19—20世纪,西方兴起了一轮中国古诗词翻译热潮,许多音乐家都从这些译诗中获得灵感,谱写出一批数量可观的汉诗西乐作品,其中包括了不少根据《诗经》译诗所作的歌曲。英国汉学家翟理斯翻译的《郑风·将仲子》一诗先后得到了斯科特、鲁塞尔以及卡朋特三位作曲家的谱曲。他们尝试用现代的音乐语言去诠释三千年前的中国古代诗歌,跨时空的“诗—乐”文化交流呈现出别样的跨界融合与审美碰撞。文章梳理了《诗经》在20世纪西方音乐中的入乐情况,介绍了《将仲子》的译诗情况及中西理解差异,并着重对三首相关歌曲作品进行比较分析。

Chinese classical poetry experienced a wave of translation enthusiasm in the West during the 19th and 20th centuries. Many musicians drew inspiration from these translated poems, composing a substantial number of Western musical works based on Chinese poetry, including numerous songs adapted from translations of theBook of Songs. The poem “To A Young Gentleman”, translated by the British sinologist Herbert Giles, was set to music by three composers: Scott, Roussell, and Carpenter. They employed modern musical language to interpret the poem's metaphorical, subtle Eastern sentiments and the spiritual essence of classical Chinese poetry. This article traces the incorporation of the Book of Songs into 20th-century Western music, examines the translation history of “To A Young Gentleman” and the differences in Chinese and Western interpretations, and focuses on a comparative analysis of the three related song compositions.