論者多以樂史〈楊太真外傳〉是「綴合舊文」、「拼湊成篇」的作品,但本文揭示出樂史在綴合拼湊材料的接受過程中,不僅引入中唐以後百年來有關「楊貴妃」的多種材料,並為了重新論斷歷史,在〈楊太真外傳〉的外部結構上造成信實可徵的語境,但在內容編排上利用四種不同的手法進行文學性的改動,使史家信實可徵的外在結構,包裝著改易自撰後的文學性創作。這種書寫手法使得「禍階」的歷史論斷成為「有的放矢」之說:楊貴妃的得寵是導致唐代國勢層層低落的「階梯」,但造成安史之亂的「禍首」是為了寵愛貴妃,主動做出很多不公正的決策的唐玄宗。而楊貴妃「禍階」的論斷,才得以完整地演繹呈現出來。
"Yang Tai-Zhen Legend" is not simply composed of old sections and chapters, the author Le-shi discusses and judges the concept of Yang Gui-Fei again by injecting many kinds of pictures to Yang Gui-Fei. Le-shi does not only extend in meaning but also varies the contents in order to fulfill that the emporer Tang Xuan-zong is the archcriminal of the An-Shih Rebellion, and Yang Gui-Fei is only the "stairs to the disaster".