No keyword-matching excerpt could be extracted (the cluster label doesn't share vocabulary with this character's speech).
Full speech
What says your worship? They have, an't please your worship; I Receiver general gave they my acquittance. Beside a pretty pittance too for me, That am your worships Baily. Anais kyntia Sir was at door Brought by the Constable. Then there's Intemperance the baud. With the young Lady, Madam Incontinence. I remember it. Then there is jumping Jude, Heroic Doll, With bouncing Nan, and Cis, your worship's sinner. Here's Mistress Frailty too, the waiting woman. A sin of weakness too. Beside She has promised me I should examine her Above i'th' garret. And she intreats your worship to accept— Sir here's a Gentlewoman of S. Ioanes 'his Charged with dishonesty. And here's a cobblers wife brought for a scold. Here's one Adicus, And Sophron, that do mutually accuse Each other of flat felony! Adicus is the richer. Here is with all, Panourgus come with one called Prodotes, Lay treason Sir to one another's charge; Panourgus is the richer. How Sir the richer? Eutrapeles complains Sir, Bomolochus has abused him. It is Eutrapeles that complains Sir. An't please your worship She has a noble men letter.
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…