Voice-Text Work on Hamlet

To be, or not to be? That is the question—
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And, by opposing, end them? To die, to sleep—
No more—and by a sleep to say we end
The heartache and the thousand natural shocks
That flesh is heir to—’tis a consummation
Devoutly to be wished! To die, to sleep.
To sleep, perchance to dream—ay, there’s the rub,
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause. There’s the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
Th' oppressor’s wrong, the proud man’s contumely,
The pangs of despised love, the law’s delay,
The insolence of office, and the spurns
That patient merit of th' unworthy takes,
When he himself might his quietus make
With a bare bodkin?

From Act III, scene i of `Hamlet.

To my ears and in my mind, the sibilant sounds in this deeply philosophical passage are less about intellect and structure and more about the continuity or the flow, if you will, of Hamlet's grief and agony.  It's the other sounds that are about intellect and structure, such as b in "To be, or not to be?" and l in "slings" and r in "arms."  That said, son of renown actor Ben Kingsley, Ferdinand has difficulty reciting this passage quietly, even after Jeannette Nelson instructed him twice to do so.  For him to truly understand this passage, he does have to work almost a whispered voicing of it.