No keyword-matching excerpt could be extracted (the cluster label doesn't share vocabulary with this character's speech).
Full speech
Come boy, go with me to the Scriveners, go, Thence to th'exchange. Be a good husband boy, follow my counsel. Prodigal child! Thou dost not know the sweets of getting wealth. Asotus, my dear son, talk not to me Of your Anchoves, or your Caveare. No, feed on Widow's, have each meal and Orphan Served to your Table, or a glibbery heir With all his lands melted into a mortgage. The Gods themselves feed not on such fine dainties, Such fatting, thriving diet. Oh yes, yes, Exaction, usury, and oppression. Twenty i'th' hundred is a very Nectar. And wilt thou, wasteful lad, spend in a supper What I with sweat and labour, care and industry Have been and age a scraping up together? No, no Asotus, trust grayhead experience; As I have been and ox, a painful ox, A diligent, toiling, and laborious ox To blow up Gold for thee; so I would have thee— Be a good watchful Dragon to preserve it. Your tongue is powerful: Pray read this Lecture to my son; I go To find my scrivener, who is gone I hear To a strange Glass wherein all things appear. That's not the way to thrive! No fit and brood On thy estate, as yet it is not hatched Into maturity.
Plot summary
Plot — The Muses' Looking Glass
Bird and Mistress Flowerdew, Puritan residents of Blackfriars, bring their wares to the theatre, but are appalled when Roscius tells them they have been ordered for use as props in a filthy stage play. Roscius argues that they themselves make a living from the vice of vanity, and invites them to see the play before they condemn it; he will give them a running commentary on its moral import. Despite Roscius’ high claims, Comedy and Tragedy seem initially more concerned about the order of their precedence; they agree to spend a year in competition, staging examples of their respective genres, and whichever is adjudged the better will thereafter have the theatre to herself. The play is a series of episodes showing specific virtues to be the mean: an excess or a deficiency constitutes a vice. A lack of courtesy makes Dyscolus churlishly ready to pick quarrels, whereas too much of it makes Colax sycophantic, to such an extent that he hangs around for the rest of the play flattering all the other vices. Aphobus is over-confident and Deilus cowardly, afraid of his own shadow: they have respectively too much fortitude and too little. Temperance is the next example, illustrated by Acolastus the epicure and Anaisthetus the ascetic, followed by liberality, missing in Aneleutherus the miser and carried to excess in Asotus the prodigal. The over-ostentatious Banausus, full of extravagant schemes for public works, overdoes magnificence, whereas Microprepes balks at replacing a church steeple. (The Puritans in the audience 1630 approve.) Chaunus overvalues himself, and seeks inappropriate high offices, whereas Micropsychus thinks himself unsuited to even the meanest position. Meekness is quite absent from quarrelsome Orgylus, who persistently tries to provoke patient Aorgus to a fight, without success. The arrogant Alazon and the modest Eiron deviate from truth: one falsely claims personal qualities he lacks, the other denies those he does have. Philotimia is unduly fastidious about her appearance, whereas her slovenly husband Luparus would rather clothes had never been invented. The impudent bawd Anaiskyntia brings Kataplectus to visit Philotimia, but he is too bashful to speak to her in English. Philotimia appoints him her gentleman usher, and they go off together; it looks as if Luparus is going to be cuckolded, but he doesn’t care. The extremes of justice are next: Nimis is worldly and prone to accept bribes, adjudicating between litigants according to which can…