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Man of La Mancha Initiation LightWorker™ Series

Channelling by Dr. Joshua David Stone Manual by Nan Fahey & Jens Søeborg

Man of Lam Mancha Initiation (LightWorker™ Series) This initiation is one of the many, cannneled by Dr. Joshua David Stone, shown on the picture to the right. They are from a numbered list of 303 initiations. I have sorted them differently, but I have kept the number as well, but skipped the "The" in front of all names. Dr. Stone is giving them free as true gifts from our eternal and infinite Spirit, coming directly from the Absolute Source of Divine Light and Divine Love. I will do simple manuals to them when I have time, mainly with material from Wikipedia. And remember they are all free of any charge and obligation. You are free to copy and pass on. I will send copies to Dr. Joshua David Stone, and if you translate, then please pass a copy to both of us: drstone@best.com and enseikoshiro@yahoo.com. LightWorker™ Miscellaneous Initiations (Dr. Joshua David Stone) Achilles Heel Initiation (Dr. Joshua David Stone 157) (LightWorker™ Series) Angel Initiation (Dr. Joshua David Stone 17) (LightWorker™ Series) Archangel Michael Initiation (Dr. Joshua David Stone 96) (LightWorker™ Series) Atlanetean Initiation (Dr. Joshua David Stone 103) (LightWorker™ Series) Bible Initiation (Dr. Joshua David Stone 139) (LightWorker™ Series) Blind Faith Initiation (Dr. Joshua David Stone 169) (LightWorker™ Series) Body Lamp Initiation (Dr. Joshua David Stone 173) (LightWorker™ Series) Book of Life Initiation (Dr. Joshua David Stone 218) (LightWorker™ Series) Brahma, Vishnu, and Shiva Initiation (Dr. Joshua David Stone 184) (LightWorker™ Series) Brahmacharya Initiation (Dr. Joshua David Stone 123) (LightWorker™ Series) Christopher Reeves or Superman Initiation (Dr. Joshua David Stone 42) (LightWorker™ Series) Course in Miracles Initiation (Dr. Joshua David Stone 136) (LightWorker™ Series) Cups, Wands, Swords, and Pentacles Initiation (Dr. Joshua David Stone 220) (LW™ Series) Dream Initiation (Dr. Joshua David Stone 231) (LightWorker™ Series) Efficient Perception of Reality Initiation (Dr. Joshua David Stone 171) (LightWorker™ Series) Elohim Initiation (Dr. Joshua David Stone 125) (LightWorker™ Series) Essenes Initiation (Dr. Joshua David Stone 15) (LightWorker™ Series) Existentialism Initiation (Dr. Joshua David Stone 137) (LightWorker™ Series) Firemen of 911 Initiation (Dr. Joshua David Stone 190) (LightWorker™ Series) Forthy Day Lent Initiation (Dr. Joshua David Stone 214) (LightWorker™ Series) God Initiations 1-2 (Dr. Joshua David Stone 93+243) (LightWorker™ Series) God/Goddess Initiation (Dr. Joshua David Stone 163) (LightWorker™ Series) Hanuman Initiation (Dr. Joshua David Stone 182) (LightWorker™ Series) Hercules Initiation (Dr. Joshua David Stone 106) (LightWorker™ Series) Higher Self Initiation (Dr. Joshua David Stone 159) (LightWorker™ Series) Holy Instant Initiation (Dr. Joshua David Stone 73) (LightWorker™ Series) Holy Spirit Initiation (Dr. Joshua David Stone 124) (LightWorker™ Series) Lady Diana Initiation (Dr. Joshua David Stone 120) (LightWorker™ Series) Lamp Initiation (Dr. Joshua David Stone 172) (LightWorker™ Series) Little Lamb Initiation (Dr. Joshua David Stone 7) (LightWorker™ Series) Mahatma Initiation (Dr. Joshua David Stone 130) (LightWorker™ Series) Man of La Mancha Initiation (Dr. Joshua David Stone 121) (LightWorker™ Series) Master Teacher Initiation (Dr. Joshua David Stone 203) (LightWorker™ Series) Metatron Initiation (Dr. Joshua David Stone 129) (LightWorker™ Series) Metatron Light and Light Bulb Initiation (Dr. Joshua David Stone 197) (LightWorker™ Series) Mother Earth Initiation (Dr. Joshua David Stone 195) (LightWorker™ Series) Mount Everest Initiation (Dr. Joshua David Stone 193) (LightWorker™ Series) Napoleon Hill Initiation (Dr. Joshua David Stone 150) (LightWorker™ Series)

Orpheus Initiation (Dr. Joshua David Stone 201) (LightWorker™ Series) Peace Pilgrim Initiation (Dr. Joshua David Stone 81) (LightWorker™ Series) Persephany Initiation (Dr. Joshua David Stone 221) (LightWorker™ Series) Rama Initiation (Dr. Joshua David Stone 222) (LightWorker™ Series) Sensitivity to the Spirit Initiation (Dr. Joshua David Stone 164) (LightWorker™ Series) Seven Chakras Initiation (Dr. Joshua David Stone 160) (LightWorker™ Series) Seven Deadly Sins Initiation (Dr. Joshua David Stone 36) (LightWorker™ Series) Seven Heavenly Virtues (Dr. Joshua David Stone 37) (LightWorker™ Series) Seven Levels of Spiritual Marriage Initiation (Dr. Joshua David Stone 158) (LW™ Series) Seven Rays Initiation (Dr. Joshua David Stone 162) (LightWorker™ Series) Shepherd Initiation (Dr. Joshua David Stone 6) (LightWorker™ Series) Soul Travel Initiation (Dr. Joshua David Stone 229) (LightWorker™ Series) Sri Sankara Initiation (Dr. Joshua David Stone 200) (LightWorker™ Series) Thanksgiving Initiation (Dr. Joshua David Stone 202) (LightWorker™ Series) Three Musketeers Initiation (Dr. Joshua David Stone 187) (LightWorker™ Series) Transfiguration Initiation (Dr. Joshua David Stone 63) (LightWorker™ Series) Tree and Its Fruits Initiation (Dr. Joshua David Stone 170) (LightWorker™ Series) Twelve Archetypes Initiation (Dr. Joshua David Stone 165) (LightWorker™ Series) Twelve Schools & Challenges of Life Initiation (Dr. Joshua D. Stone 161) (LW™ Series) Twelve Sephiroth of the Cosmic Tree of Life Initiation (Dr. Joshua D. Stone 166) (LW™ Series) Yoda Initiation (Dr. Joshua David Stone 209) (LightWorker™ Series) Yogananda/Holy Spirit Public Speaking Initiation (Dr. Joshua David Stone 194) (LW™ Series) Zarathustra Initiation (Dr. Joshua David Stone 189) (LightWorker™ Series)

Reciving the Initiation

Start with Gassho (prayer posture). Meditate on the light and love energies around you, above you and inside of you. Ask the help of your higher self and others of your helpers such as the mighty I AM Presence, the angels and archangels, masters and mahatma guides of meditation, ascension and initiation. Accept receiving the initiation from your teacher. Sense the energies! Enjoy! Expand! Relax...

If you receive more than one initiation, then please remember to take deep breaths in-between initiations.

Passing on the Initiation

To Pass the Initiations to others do the same process as above. Just intend to pass them and read them out loud waiting for a few moments in-between initiations sensing the energies running and the spiritual shifts. Trust in the Higher Wisdom and Power. Enjoy! Expand! Relax...

Don Quixote (Don Qijote de La Mancha) From Wikipedia, the free encyclopedia Don Quijote de la Mancha, fully titled El ingenioso hidalgo Don Quijote de la Mancha ('the ingenious nobleman Don Quijote of La Mancha) is an early novel written by Spanish author Miguel de Cervantes y Saavedra. Within Cervantes' complex fiction, the original story was said to have been written in Arabic by a historian named Cide Hamete Benengeli, with Cervantes serving as a "translator" after the story is found in Toledo's bedraggled old Jewish quarter.

It regularly appears at or near the top of compendia listing the greatest works of fiction ever published and is the most important work of literature to emerge from Spain's "siglo de oro" - golden century. Published in two volumes a decade apart, Don Quixote is widely acclaimed, not only as the most influential and emblematic work in the canon of Spanish literature, but more generally a founding work of modern Western literature.

Literary attributes The book’s importance derives from various factors. The novel's structure is in episodic form. It is a humorous novel in the picaresco style of the late sixteenth century. The full title is indicative of the tale's object, as ingenioso (Span.) is to be quick with inventiveness, to be confabulatory. Although the novel is farcical, the second half is serious and philosophical about the theme of deception. Quixote has served as an important thematic source not only in literature but in much of later art and music, such as works by Pablo Picasso and Richard Strauss. The contrasts between the tall, thin, fancy-struck, and idealistic Quixote and the fat, squat, world-weary Panza is a motif echoed ever since the book’s publication, and Don Quixote's imaginings are the butt of outrageous and cruel practical jokes in the novel. Even faithful and simple Sancho is unintentionally forced to deceive him at certain points. The novel is considered a satire of orthodoxy, truth, veracity, and even nationalism. In going beyond mere storytelling to exploring the individualism of his characters, Cervantes helped move beyond the narrow literary conventions of the chivalric romance literature that he spoofed, which consists of straightforward retelling of a series of acts that redound to the knightly virtues of the hero.

Farce makes use of punning and similar verbal playfulness. Character-naming in Don Quixote makes ample figural use of contradiction, inversion, and irony, such as the names Rocinante (a reversal) and Dulcinea (an allusion to illusion), and the word quixote itself, possibly a pun on quijada (jaw) but certainly cuixot (Catalan: thighs), a reference to a horse's rump. The world of ordinary people, from sheepherders to tavern-owners and inn-keepers, that figures in Don Quixote was groundbreaking. The character Don Quixote became so well-known in its time that the word quixotic was quickly calqued into many languages. Characters such as Sancho Panza and Don Quixote’s steed, Rocinante, are emblems of Western literary culture. The phrase "tilting at windmills" to describe an act of futility similarly derives from an iconic scene in the book.

Because of its widespread influence, Don Quixote also helped cement the modern Spanish language. The opening sentence of the book created a classic cliché of Spanish language in the phrase de cuyo nombre no quiero acordarme, "whose name I do not care to recall." "En un lugar de la Mancha, de cuyo nombre no quiero acordarme, no ha mucho tiempo que vivía un hidalgo de los de lanza en astillero, adarga antigua, rocín flaco y galgo corredor. "In a village in La Mancha (whose name I do not care to recall) there lived, not very long ago, one of those gentlemen who keep a lance in the lance-rack, an ancient shield, a skinny old horse, and a fast greyhound".

Plot summary

Don Quixote tells the story of Alonso Quixano, a minor landowner who has read so many stories of chivalry that he descends into fantasy and becomes convinced he is a knight errant. Together with his companion Sancho Panza, the self-styled Don Quixote de la Mancha sets off to save Dulcinea del Toboso, an imaginary object of his courtly love crafted from a neighbouring farmgirl by the illusion-struck "knight". Alonso Quixano, a fiftyish retired country gentleman, lives in an unnamed section of La Mancha with his niece and a housekeeper. He has become obsessed with books of chivalry, and believes their every word to be true, despite the fact that many of the events in them are (clearly) impossible. Quixano eventually loses his mind from little sleep and food because of so much reading. He decides to go out as a knight-errant in search of adventure. He dons an old suit of armor, improvises a makeshift helmet, renames himself "Don Quixote de la Mancha," and names his skinny horse "Rocinante." He designates a neighboring farm girl, Aldonza Lorenzo, as his ladylove, renaming her Dulcinea del Toboso, while she knows nothing about this.

He sets out in the early morning and ends up at a roadside house, which he believes to be a castle. He asks the innkeeper, whom he takes to be the lord of the castle, to dub him knight. Don Quixote spends the night holding vigil over his armour, during which he becomes involved in a fight with muleteers who try to remove his armour from the horse trough so that they can water their mules. The innkeeper then "dubs" him knight advising him that he needs a squire, and sends him on his way. Don Quixote battles with traders from Toledo, who "insult" the imaginary

Dulcinea, and he also frees a young boy who is tied to a tree by his Master because the boy had the audacity to ask his master for the wages the boy had earned but had not yet been paid. Don Quixote is returned to his home by a neighboring peasant, Pedro Crespo. Back at home, Don Quixote plots an escape. Meanwhile, his niece, the housekeeper, the parish curate, and the local barber secretly burn most of the books of chivalry, and seal up his library pretending that a magician has carried it off. Don Quixote approaches another neighbor, Sancho Panza, and asks him to be his squire, promising him governorship of an island. The rather dull-witted Sancho agrees, and the pair sneak off in the early dawn. It is here that their series of famous adventures begin, starting with Don Quixote's attack on windmills that he believes to be ferocious giants.

Although the first half of the novel is almost completely farcical, the second half is serious and philosophical about the theme of deception. Don Quixote's imaginings are made the butt of outrageous and cruel practical jokes. Even Sancho is unintentionally forced to deceive him at one point; trapped into finding Dulcinea, Sancho brings back three peasant girls and tells Quixote that they are Dulcinea and her ladies-in-waiting. When Don Quixote does see only three peasant girls, Sancho pretends that Quixote suffers a cruel enchantment which does not permit him to see the truth. Sancho eventually does get his imaginary island governorship and unexpectedly proves to be wise and practical; though this too, ends in disaster. The novel ends with Don Quixote's complete disillusionment, with his melancholy return to sanity and renunciation of chivalry, and finally, his death.

Writing and publication

Sources for Don Quixote include the Valencian novel Tirant lo Blanch, one of the first chivalric epics, which Cervantes describes in Chapter VI of Quixote as "the best book in the world." The scene of the book burning gives us an excellent list of Cervantes's likes and dislikes about literature.

In July or August 1604 Cervantes sold the rights of El ingenioso hidalgo Don Quixote de la Mancha (known as Don Quixote, Part I) to the publisher-bookseller Francisco de Robles for an unknown sum. License to publish was granted in September, the printing was finished in December, and the book came out in January 1605. The novel was an immediate success. There is some evidence of its content's being known before publication to, among others, Lope de Vega. There is also a tradition that Cervantes read some portions of his work to a select audience at the court of the Duke of Bejar, which may have helped in making the book known. Don Quixote, Part One lay on Cervantes' hands for some time before he could find a willing publisher.[10] The compositors at Juan de la Cuesta's press in Madrid are now known to have been responsible for errors in the text, many of which were attributed to the author.

No sooner was it in the hands of the public than preparations were made to issue derivative ("pirated") editions. "Don Quixote" had been growing in favour, and its author's name was now known beyond the Pyrenees. By August 1605 there were two Madrid editions, two published in Lisbon, and one in Valencia. A second edition with additional copyrights for Aragón and Portugal, which publisher Francisco de Robles secured. Sale of these publishing rights deprived Cervantes of further financial profit on Part One. In 1607, an edition was printed in Brussels. Robles, the Madrid publisher, found it necessary to meet demand with a third edition, a seventh publication in all, in 1608. Popularity of the book in Italy was such that a Milan bookseller issued an Italian edition in 1610. Yet another Brussels edition was called for in 1611. In 1613, Cervantes published Novelas Exemplares, dedicated to the Maecenas of the day, the Conde de Lemos. Eight and a half years after Part One had appeared, we get the first hint of a forthcoming Segunda Parte (Part Two). "You shall see shortly," Cervantes says, "the further exploits of Don Quixote and humours of Sancho Panza." Don Quixote, Part Two, published by

the same press as its predecessor, appeared late in 1615, and quickly reprinted in Brussels and Valencia (1616) and Lisbon (1617). The second tome capitalizes on the potential of the first, developing and diversifying without sacrificing familiarity. Many people agree that it is richer and more profound. Parts One and Two were published as one edition in Barcelona in 1617.

The spurious Avellaneda Segunda Parte It is not certain when Cervantes began writing Part Two of Don Quixote, but he had probably not gotten much further than Chapter LIX by late July of 1614. About September, however, a spurious Part Two, entitled "Second Volume of the Ingenious Gentleman Don Quixote of La Mancha: by the Licenciado (doctorate) Alonso Fernández de Avellaneda, of Tordesillas", was published in Tarragona by an unidentified Aragonese who was an admirer of Lope de Vega, rival of Cervantes. Avellaneda's identity has been the subject of many theories, but there is no consensus on who he was. In its prologue, the author gratuitously insulted Cervantes, who not surprisingly took offense and responded; the last half of Chapter LIX and most of the following chapters of Cervantes' Segunda Parte lend some insight of the effects upon him. Many scholars agree that this book is of considerable literary merit.

Cultural legacy

Don Quixote is often nominated as the world's greatest work of fiction. Don Quixote's importance in literature has produced a large and varied cultural and artistic legacy. Many artists have drawn inspiration either directly or indirectly from Cervantes' work, including the painter Honoré Daumier, the composer Richard Strauss, the writer Henry Fielding and the filmmaker Terry Gilliam. The cultural legacy of Don Quixote is one of the richest and most varied of any work of fiction ever produced.It stands in a unique position between medieval chivalric romance and the modern novel. The former consist of disconnected stories with little exploration of the inner life of even the main character. The latter are usually focused on the psychological evolution of their characters. In Part I, Quixote impose himself on his environment. By Part II, people know about him through "having read his adventures," and so, he needs to do less to maintain his image. By his deathbed, he has regained his sanity, and is once more "Alonso Quixano the Good".

The novel contains many minor literary "firsts" for European literature—a woman complaining of her menopause, someone with an eating disorder, and the psychological revealing of their troubles as something inner to themselves. Subtle touches regarding perspective are everywhere: characters talk about a woman who is the cause of the death of a suitor, portraying her as evil, but when she comes on stage, she gives a different perspective entirely that makes Quixote (and thus the reader) defend her. When Quixote descends into a cave, Cervantes admits that he does not know what went on there.

Quixote's adventures tend to involve situations in which he attempts to apply a knight's sure, simple morality to situations in which much more complex issues are at hand. For example, upon seeing a band of galley slaves being mistreated by their guards, he believes their cries of innocence and attacks the guards. After they are freed, he demands that they honour his lady Dulcinea, but instead they pelt him with stones and leave. Different ages have tended to read different things into the novel. When it was first published, it was usually interpreted as a comic novel. After the French Revolution it was popular in part due to its central ethic that individuals can be right while society is quite wrong and disenchanting—not comic at all. In the 19th century it was seen as a social commentary, but no one could easily tell "whose side Cervantes was on." By the 20th century it had come to occupy a canonical space as one of the foundations of modern literature.

Man of La Mancha - the Broadway Musical From Wikipedia, the free encyclopedia Man of La Mancha is a 1965 Broadway musical in one act which tells the story of the classic novel Don Quixote as a play within a play, performed by Miguel de Cervantes and his fellow prisoners as he awaits a hearing with the Spanish Inquisition. It is performed on a single set, arranged to suggest, vaguely, a dungeon. All changes in location are suggested by alterations in the lighting and by the creative use of props supposedly lying around the floor of the dungeon; there are no detailed stage sets. This was done to encourage the participation of the audience's imagination in the enjoyment of the show. (More recent productions, however, have added more scenery.)

History of the Play

The book was by Dale Wasserman, lyrics by Joe Darion, and music by Mitch Leigh: one song, "The Impossible Dream," was particularly popular. Man of La Mancha started its life as a non-musical teleplay written by Dale Wasserman for CBS's Dupont Show of the Month program. This original staging starred Lee J. Cobb. The Dupont Corporation disliked the title Man of La Mancha, thinking that its viewing audience would not know what La Mancha actually meant, so a new title, I, Don Quixote, was chosen. Upon its telecast, the play won much critical acclaim.

Years after this television broadcast, and after the original teleplay had been unsuccessfully optioned as a non-musical Broadway play, director Albert Marre called Wasserman and suggested that he turn his play into a musical. Mitch Leigh was selected as composer. The original lyricist of the musical was world-renowned poet W. H. Auden, but his lyrics were discarded, some of them overtly satiric and biting, attacking the bourgeois audience at times.

The musical first opened at the Goodspeed Opera House in Connecticut in 1964. Rex Harrison was to be the original star of this production, but soon lost interest when he discovered the songs must actually be sung. Michael Redgrave was also considered for the role. The play finally opened on Broadway on November 22, 1965. Richard Kiley won a Tony Award for his performance as Cervantes/Quixote in the original production, and it made Kiley a bona fide Broadway star, but the role went to Peter O'Toole in the less-successful 1972 film. O'Toole,

however, did not really sing his own songs; they were dubbed by tenor Simon Gilbert. All other actors in the film, however, from non-singers such as Sophia Loren, Brian Blessed, Harry Andrews, and Rosalie Crutchley, to Broadway musical stars such as Julie Gregg and Gino Conforti, did do their own singing. The only member of the original cast to reprise his role in the film was Conforti, repeating his hilarious portrayal of the amazed barber, whose shaving basin is mistaken by Don Quixote for the Golden Helmet of Mambrino. Although the bulk of the film was made on two enormous sound stages, the use of locations was much more explicit - Don Quixote is actually shown fighting the windmill, while onstage this had been merely suggested by having Quixote run offstage to agitated music, and then crawl back onstage a few seconds later, with his lance broken and his sword twisted. The film was produced and directed by Arthur Hiller, photographed by Federico Fellini's frequent cinematographer, Giuseppe Rotunno with musical and fight staging provided by Gillian Lynne. The play has been run on Broadway five times:

• 1965 - 1971 original production, opened November 22, 1965 with Richard Kiley as Miguel de Cervantes and Don Quixote and ran for 2,328 performances. John Cullum, José Ferrer, Hal Holbrook, and Lloyd Bridges also played the roles during this run.

• 1972 - revival, Richard Kiley as Cervantes and Quixote.

• 1977 - revival, Richard Kiley as Cervantes and Quixote, Tony Martinez as Sancho Panza and Emily Yancy as Dulcinea.

• 1992 - revival, Raúl Juliá as Cervantes and Quixote, Sheena Easton as Dulcinea.

• 2002 - revival, Brian Stokes Mitchell as Cervantes and Quixote, Mary Elizabeth Mastrantonio as Dulcinea, Ernie Sabella as Sancho Panza.

Plot, with songs indicated It is the late sixteenth century. Failed author-soldier-actor and tax collector Miguel de Cervantes has been thrown into a dungeon by the Spanish Inquisition, along with his manservant. They have been charged with foreclosing on a monastery. The two have brought all their possessions with them into the dungeon. There, they are attacked by their fellow prisoners, who instantly set up a mock trial. If Cervantes is found guilty, he will have to hand over all his possessions. Cervantes agrees to do so, except for a precious manuscript which the prisoners are all too eager to burn. He asks to be allowed to offer a defence, and the defence will be a play, acted out by him and all the prisoners. A big, burly, but good-humoured criminal called "The Governor" agrees.

Cervantes takes out a makeup kit from his trunk, and the manservant helps him get into a costume. In a few short moments, Cervantes has transformed himself into Alonso Quijana, an old gentleman who has read so many books of chivalry and thought so much about injustice that he has lost his mind and now believes that he should go forth as a knight-errant. Quijana renames himself Don Quixote de La Mancha, and sets out to find adventures with his "squire", Sancho Panza. They both sing the title song "Man of La Mancha (I, Don Quixote)".

The first adventure he has is with a windmill. Don Quixote mistakes it for a four-armed giant, attacks it, and receives a beating from the encounter. He thinks he knows why he has been

defeated - it is because he has not been properly dubbed a knight. Looking off, he imagines he sees a castle (it is really a rundown roadside inn). He orders Sancho to announce their arrival by blowing his bugle, and the two proceed to the inn. In the inn's courtyard, the local wench Aldonza is being propositioned by a group of horny muleteers. Fending them off sarcastically, ("It's All The Same") she eventually chooses Pedro, who pays in advance. Don Quixote enters with Sancho, upset at not having been "announced" by a "dwarf". The Innkeeper (played by The Governor) treats them sympathetically and humors Don Quixote, but when Quixote catches sight of Aldonza, he believes her to be the lady Dulcinea, to whom he swears eternal loyalty. He sings "Dulcinea". Aldonza, used to being roughly handled, is furious at Quixote's strange and kind treatment of her. Meanwhile, Antonia (Don Quixote's niece) has gone with Quixote's housekeeper to seek advice from the local priest. But the priest wisely realizes that the two women are more concerned with the embarrassment the knight's madness may bring than with his welfare. The three sing "I'm Only Thinking of Him". One of the prisoners, a cynic called "The Duke", is chosen by Cervantes to play Dr. Sanson Carrasco, Antonia's fianceé, a man just as cynical and self-centered as the prisoner who is playing him. Carrasco is upset at the idea of welcoming a madman into the family, so he and the priest set out to cure Don Quixote and bring him back home.

Back at the inn, Sancho delivers a missive from Don Quixote to Aldonza courting her favor and asking for a token. Aldonza gives Sancho an old dishrag, but to Don Quixote the dishrag is a silken scarf. When Aldonza asks Sancho why he follows Quixote, he sings "I Really Like Him". Alone, later, Aldonza sings "What Does He Want of Me?" In the courtyard, the muleteers once again taunt her with the suggestive song "Little Bird, Little Bird".

The priest and Dr. Carrasco arrive, but cannot reason with Don Quixote, who suddenly spots a barber wearing his shaving basin on his head to ward off the sun's heat.("The Barber's Song") Quixote immediately snatches the basin from the barber at sword's point, believing it to be the miraculous "Golden Helmet of Mambrino", which will make him invulnerable. Dr. Carrasco and the priest leave, with the priest impressed by Don Quixote's view of life and wondering if curing him is really worth it. ("To Each His Dulcinea") Meanwhile, Quixote asks the Innkeeper to dub him knight. The innkeeper agrees, but first Quixote must stand vigil all night over his armor. Quixote decides to do so in the courtyard, because the "chapel" is "being repaired". As he stands guard, Aldonza, on her way to her rendezvous with Pedro, finally confronts him, but Quixote gently explains why he behaves the way he does (at this point, he sings "The Impossible Dream"). Pedro enters, furious, and slaps Aldonza. Enraged, Don Quixote takes him and all the other muleteers on in a huge fight. With the help of Aldonza (who now sympathizes with Quixote) and Sancho, the muleteers are all knocked unconscious, as the orchestra plays "The Combat". But the noise has awakened the Innkeeper, who enters and kindly tells Quixote that he must leave. However, before he does, the Innkeeper dubs him knight ("Knight of the Woeful Countenance").

Quixote then announces he must try to help the muleteers. Aldonza, whom Quixote still calls Dulcinea, is shocked, but after the knight explains that the laws of chivalry demand that he do so, Aldonza agrees to help them. For her efforts, she is beaten, raped, and carried off by the muleteers, who leave the inn. ("The Abduction") Quixote, in his small room, is blissfully unaware of what has just happened to her ("The Impossible Dream" - first reprise) At this point, the Don Quixote play is brutally interrupted when the Inquisition enters the dungeon and drags off an unwilling prisoner to be tried. The Duke taunts Cervantes for his look of fear, and accuses him of not facing reality. This prompts a passionate defence of idealism by Cervantes.

The Don Quixote play resumes ("Man of La Mancha" - first reprise). He and Sancho have left the inn and encounter a band of Gypsies ("Moorish Dance") who take advantage of Quixote's naivete and proceed to steal everything they own, including Quixote's horse Rocinante and Sancho's donkey Dapple. The two are forced to return to the inn, where the Innkeeper tries to keep them out, but finally cannot resist letting them back in out of pity. Aldonza shows up with several bruises. Quixote swears to avenge her, but she angrily tells him off, begging him to leave her alone ("Aldonza"). Suddenly, another knight enters. He announces himself as the "Knight of the Mirrors", insults Aldonza, and is promptly challenged to combat by Don Quixote. The Knight of the Mirrors and his attendants bear huge shields with mirrors on them, and as they swing them at Quixote, the glare from the sunlight blinds him. The Knight of the Mirrors taunts him, forcing him to see himself as the world sees him - a fool and a madman. Don Quixote collapses in a faint. The Knight of the Mirrors removes his helmet - he is really Dr. Carrasco, returned with his latest plan to cure Quixote.

Cervantes announces that the story is finished, but the prisoners are dissatisfied with the ending. They prepare to burn his manuscript, when he asks for the chance to present one last scene.

The Governor agrees, and we are now in Don Quixote's bedroom, where he has fallen into a coma. Antonia, Sancho, the Housekeeper, the priest, and Carrasco are all there. Sancho tries to cheer up Quixote ("A Little Gossip"). Don Quixote eventually awakens, and when questioned, reveals that he is now sane, remembering his life as Quixote as a vague dream. He realizes that he is now dying, and asks the priest to help him make out his will. As Quixote begins to dictate, Aldonza forces her way in. She has come to visit Quixote because she has found that she can no longer bear to be anyone but Dulcinea. When he

does not recognize her, she sings "Dulcinea" (reprise) to him and tries to help him remember the words of "The Impossible Dream". Suddenly, he remembers everything and rises from his bed, calling for his armor and sword so that he may set out again. ("Man of La Mancha" -second reprise) But it is too late. He collapses and dies. The priest sings "The Psalm" for the dead. However, Aldonza now believes in him so fiercely that, to her, Don Quixote will always live. When Sancho calls her by name, she asks him to call her Dulcinea.

The Inquisition enters to take Cervantes to his trial, and the prisoners, finding him not guilty, return his manuscript. It is, of course, the unfinished manuscript of Don Quixote. As Cervantes and his servant mount the drawbridge-like staircase to go to their impending trial, the prisoners (except for the Duke) sing "The Impossible Dream" in chorus. Spoilers end here.

Trivia • A French adaptation, which featured the Belgian singer-songwriter Jacques Brel in the

lead role, was recorded and issued in 1968 as the album L'Homme de la Mancha.

• Another French version was produced in Liège in 1998 and 1999 with José van Dam in the lead role.

• Tenor Plácido Domingo has also played Quixote on a stage set and made a recording together with Julia Migenes as Dulcinea and Mandy Patinkin as Sancho.

• Singer Jack Jones has played Quixote in 2000. Jones was responsible for numerous chart-topping singles including "The Impossible Dream (The Quest)".

• Mitch Leigh did not play any instrument while writing the score to Man of La Mancha. He submitted songs for the production on cassette tapes, already fully orchestrated and performed by professional musicians (it is a custom on Broadway for professional orchestrators other than the composer to arrange instrumental parts for musicals. Mitch Leigh's work, which won him the Tony Award for Best Original Score, was therefore notable because the company that Leigh founded, Music Makers, Inc., orchestrated the work under his very direct supervision). Leigh scored the piece for a flute (which alternates on piccolo), an oboe, a clarinet, a bassoon (which alternates as the second clarinet), 2 B-flat trumpets, 2 horns, two trombones (one tenor and one bass), one timpanist (playing either two or three timpani), two percussionists playing 14 instruments, 2 Spanish guitars and one string bass. In addition, in two scenes on-stage guitars accompany singers. Leigh's ensemble, in contrast to the traditional Broadway orchestra, had only one bowed string instrument and was virtually a wind and brass band with guitars. The film version of the show, orchestrated and conducted by Laurence Rosenthal, did add strings to the orchestration, although very discreetly.

• The musical is also featured in the sci-fi TV series Quantum Leap. The episode "Catch A Falling Star", has Dr Sam Beckett (Scott Bakula, who himself has considerable experience in Broadway musicals) leaping into the body of an understudy who falls in love with the girl playing Dulcinea, saves the life of the drunk Luvvie to whom he is an understudy and, of course, eventually plays the lead role.

• Several productions, including the so-called "complete play" recording made in 1968, as well as the 1972 film, omit the scene with the Moorish Gypsies.

• While the musical is technically one act, there is usually an intermission between "To Each His Dulcinea" and "The Impossible Dream" in modern productions.

Music and Songs in the Musical "Overture"; "Man of La Mancha (I, Don Quixote)"; "It's All the Same"; "Dulcinea"; "I'm Only Thinking of Him"; "I Really Like Him"; "What Does He Want of Me?" (changed to "What Do You Want of Me?" on the original cast album); "Little Bird, Little Bird"; "The Barber's Song"; "Golden Helmet of Mambrino" "To Each His Dulcinea (To Every Man His Dream)"; "The Impossible Dream (The Quest)"; "The Combat" (instrumental); "The Dubbing (Knight of the Woeful Countenance)"; "The Abduction" (mostly instrumental); "The Impossible Dream" (first reprise); "Man of La Mancha" (first reprise); "Moorish Dance" (instrumental); "Aldonza"; "The Knight of the Mirrors" (instrumental); "A Little Gossip"; "Dulcinea" (reprise); "The Impossible Dream" (second reprise); "Man of La Mancha" (second reprise); "The Psalm"; "Finale" (The Impossible Dream); "Bows"; "Exit Music".