歷代讀者對於李白作品的接受不盡相同，因而造成〈行路難〉三首在李白作品當中的歧異。嚴羽在《滄浪詩話》率先對於〈行路難〉作出正面的評價，在宋朝重視人倫禮義的聲浪中，認同東坡對於李白氣節的讚賞，便從「起勢險峻」、「氣慨軒昂」之處加以辯護，並重新建構李白的仕隱觀；朱熹同樣受蘇軾的啟發，認為〈行路難〉應有所刪減，朱諫認同此說，認為刪減後語意更為連貫，高棅《唐詩品匯》、胡震亨《唐詩奎籤》基於此，卻對此詩形成負面評價，認為屬於鮑照〈擬行路難〉的仿作。 本文以接受美學的角度切入，從李白作〈行路難〉的背景、歷代詩評著手，討論此詩的典範位置，以及長久以來不受重視的原因，呈現〈行路難〉歷代接受效應與此詩意義的挖掘。

Reception of Li Bai’s works from readers of different periods are not exactly the same, causing dissimilar meanings and understandings in ’Rugged Journey 行路難’. During the Sung dynasty, one’s ethics and propriety is more important than how a person is, Yan Yu was inspired by Su Dung-Po 東坡 and made the first positive evaluation on ‘Rugged Journey’ in ” Canglang Shi-hua 滄浪詩話”. Yan Yu asserted the style of poems and reconstructed Li Bai’s official career and seclusion thought. On the other hand, Zhu Xi 朱熹, who was also inspired by Dung-Po, considered ’Rugged Journey’ should be deleted partially, this statement was agreed by Zhu Jian 朱諫. However, Gao-Bin 高棅 and Hu Zhen-Heng 胡震亨 proposed their opinion and made a negative comment on ‘Rugged Journey’s which is based on the same statement. This thesis applies reception theory as research method, taking the background of the creative work and poetry theory to explore the canonical of ‘Rugged Journey’. The research purpose is to discover the reason why these poems ignored by scholars for a long time; moreover, it present the reception history and the discovery of thepotential meaning of the poem.