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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.
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".
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.
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.
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 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.
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.
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.
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.
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)
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 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.