The location of one of Shakespeare's most famous soliloquies, "To-morrow and to-morrow and to-morrow." One thing that is remarkable about this dark speech is that it also works to subtly and densely blend together concepts of space and movement, time, and {sound and speech}, each of which are rhetorical motifs of the larger play (especially time):
She should have died hereafter;
There would have been a time for such a {word}.
— To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last {syllable} of recorded time;
And all our yesterdays have <light>ed fools
The way to dusty death. Out, out, brief <candle>!
Life's but a walking <shadow>, a poor player
That struts and frets his hour upon the stage
And then is {heard} no more. It is a tale
{Told} by an idiot, full of {sound} and fury
Signifying nothing.
Note: 1. how the word "hereafter," although it is understood to mean "later," also carries with it the faint suggestion of place because of "here" at its beginning, 2. how this same blending of concepts recurs when the speech measures time out in syllables (as a playwright might), 3. how "lighted" here participates in another verbal nexus formed with "light," "out, out brief candle," and "shadow," 4. how "out, out, brief candle" itself participates in a larger, play-wide metaphor of candles and husbandry (that itself forms a tight linguistic paradox, which is another rhetorical theme of the play)