No keyword-matching excerpt could be extracted (the cluster label doesn't share vocabulary with this character's speech).
Full speech
I would the Tailor had been hanged for me That first invented clothes—Oh nature, nature! More cruel unto man then all thy creatures! Calves come into the world with doublets on; And Oxen have no breeches to put off. The Lamb is born with her Freeze-coat about her; Hogs go to bed in rest, and are not troubled With pulling their hose and shoes i'th'morning, With gar king, rdling, trussing, buttoning, And a that afflict humanity. Rise, and make you ready? Two works of that, your happy birds make one; They when they rise are ready. Blessed birds! They fortunate creatures sleep in their own clothes, And rise with all their feather beds about them: Would nakedness were come again in fashion; I had some hope then when the breasts went bore Their bodies too would have come to it in time. Our Sow never washes, yet she has a face Me thinks as cleanly, Madam, as yours is If you durst wear your own. To cloth the soul? must the soul too be clothed? I protest sir, I had rather have no soul Then be tormented with the clothing of it. Where's my wife: Then I am cuckolded; if I be my comfort is She'has put me on a cap, that will not trouble me With pulling off, yet Madam I'll prevent you.
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…