No earlier inquiry explored the intricate “one-to-many” relationships between metaphor and music in compositions based on the same lyrics in investigating how verbal metaphors are plotted on, refashioned into, and rallied with the musical/aural style of the compositions. To bridge this gap, this study furnishes a thorough metaphor-based and musical analysis to explore the alteration of verbal metaphors in the classic Mandarin Chinese poem “Serendipity,” written by the famous poet Hsu Chih-Mo (徐志摩), into multimodal metaphors in four musical versions.