唐玄宗與楊玉環的愛情，是帝王故事中，少有的「才子佳人」典型，其悲劇性與傳奇性，增添了故事的美感，也因此成為文人樂於發展的題材之一。白居易的〈長恨歌〉與洪昇的《長生殿》，便是其中最具代表性的兩個範例。在白居易〈長恨歌〉的後半段，為兩人的愛情，營造了一個浪漫的境界，而洪昇的《長生殿》則依此發揮，更有甚者。洪昇將〈長恨歌〉中的「不見玉顏空死處」之「空」，演繹為「尸解」一齣，使舞台的展演，極盡美麗奇幻，也對歷史上「肌膚已壞，香囊仍在」的說法，提出另一種解釋。楊玉環藉此完成謫仙受難的歷程，穿梭到另一個神話世界，造就了一段美麗而無憾的帝后之戀，《長生殿》也成為戲劇史上的「情至」典型。

Tang xuan-zong and Yang Yuhuang’s love is unusual “wit and beauty” model
in the emperor story.Its tragedy and legendary have increased the story esthetic sense; and it becomes the subject that the writer to be glad to develop. Bai Juyi’s " Song of Unending Sorrow" and Hong Sheng’s "The palace of Eternal Youth", are two of the most representative models in these creations. In the latter half of Bai Juyi’s “ Song of Unending Sorrow” had built a romantic boundary for their love.Then Hong Sheng’s “The palace of Eternal Youth”depended on this display and developed spectacularly. Hong Sheng developed the sentence “Didn’t see the beautiful face in the empty grave” of the “ Song of Unending Sorrow ”to the “corpse vanished” one.It transformed the performance into extremely beautiful and magical.Also the statement of “the flesh has been rotten, and the sachet still in”, proposed another kind of explanation.
Yang Yuhuan takes advantage of this process to complete the relegated celestial’s disaster in the world of mortal, shuttled to another myth world. Had accomplished the love of emperor and his concubine, what is beautiful and no regretful. “The palace of Eternal Youth” also becomes the typical of “the climax of love story” in the play’s history.