About this book
What if a change of clothes could open a closed door—and turn desire into a dangerous game?
La Cintia is a stage comedy by Giambattista della Porta, a scholar and playwright from Naples. It belongs to the learned Italian comedy of the Renaissance, with roots in the Roman plays of Plautus and Terence. Enter a theatrical world shaped by quick talk, tangled households and clever tricks, where disguise and hidden identity keep a plot moving.
Love, family and appearances pull against one another in this comic tradition. Young people desire each other, while parents, money and social rank stand in their way. A borrowed identity can win trust or bring a secret within reach. Read with an ear for timing: a pause or a line at the wrong moment can carry the joke.
What you’ll discover
- Disguise with a purpose Explore a comic tradition where different clothes can offer access, trust and the chance to overhear.
- Love meets resistance Discover how desire collides with parents, money and rank in Renaissance comedy.
- Roman roots, Renaissance wit Meet a theatrical tradition that draws on tight plots and familiar comic figures.
- Dialogue that moves Follow the quick talk and listen for pauses that help a joke land.
- Schemes and hidden identities Enter a world where clever tricks and mistaken people give comedy its momentum.
Who will love it
This is for readers who enjoy old theatre, Italian literature and plots full of schemes and mistaken people.
What’s inside
The key ideas, in the 15-minute summary
- A comedy built on Roman foundations
- Disguise sets the plot in motion
- Desire and family pull against each other
- How to read or hear it today
Formats and delivery
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- The same book in bigger, clearer type, from the first page.
- Audiobook
- 3 h 25 min, complete, read by Lucas Linden.
- 15-minute summary
- The key ideas in about 4 minutes, to read or to hear.
- Paperback
- 6 × 9 in. Printing soon: leave your email under Paperback or Hardcover above.
- Hardcover
- 6 × 9 in. Printing soon: leave your email under Paperback or Hardcover above.
- Large print paperback
- 8.5 × 11 in. Printing soon: leave your email under Paperback or Hardcover above.
- Large print hardcover
- 8.5 × 11 in. Printing soon: leave your email under Paperback or Hardcover above.
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25 languages, side by side
Read and hear La Cintia in 25 languages and switch at any time. Or read two side by side, paragraph by paragraph: the way to learn a language with a book you love.
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La Cintia
What if a change of clothes could open a closed door—and turn desire into a dangerous game?
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From the 15-minute summary · Key idea 1 of 4
A comedy built on Roman foundations
Italian writers of the sixteenth century looked back to the Roman comic playwrights Plautus and Terence. They admired the tight plots, the stock figures and the happy endings of those ancient plays. They copied the form but set the action in the streets and houses of their own Italian cities.
This style is often called learned comedy, because its authors were educated men who knew the classical rules. The plays were written in prose, in the speech of ordinary townspeople. They were staged in courts, academies and private halls as well as in public squares.
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Questions about La Cintia
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Can my family read too?
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What if it is not for me?
Cancel online in two clicks at any time and nothing more is charged. If you have paid and the library is not for you, ask within 60 days of your first payment and we refund it in full.
Who was Giambattista della Porta?
He was a scholar and writer from Naples who died in 1615. He wrote on natural magic, optics and physiognomy, and he also produced many stage comedies that were performed and printed in his time.
What kind of play is La Cintia?
It is a Renaissance comedy in the Italian learned tradition. Such plays were written in prose, followed Roman models like Plautus and Terence, and were built on love, deception and quick-witted servants.
When was La Cintia written?
It comes from the late Renaissance, when della Porta was writing for the Neapolitan stage. It is a work of fiction for the theatre, not a true story, and it belongs to the years around 1600.
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