No keyword-matching excerpt could be extracted (the cluster label doesn't share vocabulary with this character's speech).
Full speech
Why dost thou vex methen? I am turned boy again! A very stripling schoolboy! have I not The Itch and kibes? am I not scabbed and mangy About the wrists and hams? Jealous? I ha'not cause for't: my wives honest; Dost see my horns? Dost? if thou dost, Write Cuckold in my forehead; do, write Cuckold With Aquafortis, do. Jealous! I am jealous Free of the Company! wife, I am jealous. Wilt thou not leave me then Eternal Torture? could your cruelty find No back but mine that you thought broad enough To bear the load of all these Epithets? Pious? Religious? he takes me for a fool. Virtuous? and Just? Sir, did I ever cheat you, Cozen, or gull you; that you call me just And virtuous? I am grown the common scoff Of all the world; the scoff of all the world. So art thou. Heaven! I am uned ridiculous! My years and gravity! Why how ol worser am I? I am not rotten yet, or grown so rank As I should smell oth'grave: Oh Times and manners! Well Colax, well; go on: you may abuse me, Poor dust, and ashes, worms meat, years & gravity: He takes me for a Carcase! what see you So crazy in me? I have half my Teeth: I see with spectacles, do I not? and can walk too With the benefit of my staff: mark if I cannot!— But you sir at your pleasure with years and gravity Think me decrepit. Dyscolus! and why Dyscolus? when were we Grown so familiar? Dyscolus! by my name Sure we are Pylades and Orestes! are we not? Speak good Pylades. What do you mean to call me? Fool? Ass? or Knave? my name is not so bade As that I am ashamed on't. How, suspicious? For what? for Treason, Felony, or Murder? Carry me to the Justice: bind me over For a suspicious person hang me too For a suspicious person Oh, Oh, Oh Some courteous plague ceazeme, and free my soul From this immortal Torment! every thing I meet with, is vexation, and this, this Is the vexation of vexations, The Hell of Hells, and Devil of all Devils. Oh! have I not yet torments great enough, But you must add to my affliction? Eternal silence cease you! I must be pleased! a very babe, and infant! I must be pleased! give me some pap, or plums: Buy me a rattle, or a hobbyhorse, To still me, do! be pleased? wouldst have me get A Parasite to be flattered? Would! Whats that? A feather! And what have you to do with my feathers? Why should you hinder me from telling World I do not lie on flockbeds? Respect! a fine respect, Sir, is it not, To make the world believe I nourish vermin? Oh death, death, death, if that our graves hatch worms Without tongues to torment us, let they have What teeth they will. I meet not here and object But adds to my affliction! Sure I am not A man; I could not then be so ridiculous: My ears are overgrown, I am and Ass; It is my ears they gaze at. What strange Harpy Centaur, or Gorgon am I turned into? What Circe wrought my Metamorphosis? If I be beast, she might have made me Lion, Or something not ridiculous! Oh Acteon, If I do branch Like thee, it is my fortune! Why look they on me else? There is with in A Glass they say, that has strange qualities in it; That shall resolve me. I will in to see Whither or no I man or Monster be.
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…