關於〈行路難〉搭配曲調的問題，起於入矢義高、任半塘對於敦煌歌辭〈行路難〉的探討與論述，近有項楚、鄭阿財、王小盾、張勇等學者關注此一論題，但仍有些許爭議未解。因此，本文試以《樂府詩集》、《全唐詩》、敦煌文獻及《善慧大士語錄》所錄的南朝至唐代〈行路難〉為題材，分析其形式並探究其搭配曲調之可能狀況，期盼能在全面收羅〈行路難〉歌辭的條件下，檢討創作〈行路難〉的緣由、搭配曲調的機緣、搭配曲調的原則、套語「君不見」與「行路難」之作用。而經由本文分析與探究可知，文人或僧人作〈行路難〉辭的緣由，乃取此題之意，並引申為人生遭遇或悟道之「難」；搭配曲調原非依固定格式填辭，乃以齊言詩為主的形式，供樂人及歌者製作新辭或取既有曲調套用之；套語「君不見」與「行路難」運用方式又豐富多樣，如附加引聲、正辭引聲、與他句組成詠嘆句組，甚至成為聯章歌曲「章」與「章」間的過門，是為強調、轉變聲情之處。而本文的探究結果，亦可作為探討以樂府古題作辭之相關問題參考。

This paper is written to analyze the match tuner ways of the "Rugged Journey" 行路難 which on the Collection of Songs and Poems 樂府詩集, Collection of Poems in the Tang Dynasty 全唐詩, Dun-Huang notes and Written records of Sun-Huey 善慧大士語錄. The study topics include the written chances, the matched tuner chances, the matched tuner principles, formulas "You don't see"君不見and "Rugged Journey" matched tuner principles. According to this study, it can be seen that written chance come from the meaning of "Rugged Journey". The matched tuner chances depend on singers. The matched tuner principles included writing new tunes for the poems and matching ready-made tunes. Formulas "You don't see"君不見and "Rugged Journey" could be with leading or assistant tunes. This paper will offer information for the study of the songs and Poems in the South Dynasty and the Tang Dynasty.