Logorrhea in Cavendish

There is abundant evidence in Cavendish's plays that they are written for the reader and not for the stage (the mingling of theatrical present tense and novelistic past tense in stage directions, for example, or one of my favorite unstageable stage directions, from the first part of Bell in Campo, "After a short slumber she wakes"), but the sheer bulk of many of the many speeches -- from the reading of letters to the reading of a will to the the enumeration of the female army's draconian rules -- are clearly not dramatically viable. Two instances of these dense speeches struck me as being particularly necessitated by the lack of the visual medium of the stage, but I am curious as to what their relation might be to other literary tropes of the period; these speeches are the architecturally precise description of the funeral monument in BC part 1, scene 21 and the elaborate description of the interior of the convent in Convent of Pleasure, II.ii). From what source or tradition might Cavendish have found models for these non-theatrical prose speeches?