A speaker at one of these title buildings thinks of a “troubler of… midnight dreams” as summer’s “mountain-light suddenly fails in the west.” Seven of these buildings represent days, colors, planets, and princesses of the seven climes visited by Bahrâm V (“buh-RAHM the fifth”) in Amir Khusrau’s (“kuss-ROH’s”) Hasht Bihist (“hash’t bee-HEEST”). These buildings title a 10th-century precursor of thatched-hut recluse literature by Yasutane (“yah-soo-TAH-nay”) and a play whose “startled dream” scene made it one of the author’s “four dreams.” Poems written during a 353 CE “meandering stream” party at one of these buildings were collected with a preface in running script calligraphy by Wáng Xīzhī (“wahng shee-jurr”). One of these buildings titles a Míng chuánqí (“chwen-chee”) play in which Dù Lìniáng’s (“doo lee-n’yang’s”) soul reunites with Liǔ Mèngméi (“lee-yoh mung-may”). For 10 points, a 55-scene kūnqǔ (“kwun-chew”) opera by Tāng Xiǎnzǔ (“tahng shee-en-tsoo”) is titled for what sort of building named for peonies ■END■
ANSWER: pavilions [accept domes, domed pavilions, cupolas, gazebos, kiosks, booths, tíngzi; or kūshk; accept The Peony Pavilion or Mǔdān tíng or Mu-tan t’ing; accept Lántíngjí, Orchid Pavilion Gathering, Lántíng Xù, or Orchid Pavilion Preface; accept Chiteiki or Record of the Pond Pavilion or Account of the Pondside Pavilion; prompt on paradises] (Mèng Hàorán wrote “In Summer at the South Pavilion Thinking of Xing.”)
<World Literature>
= Average correct buzz position