so far as I am aware, not Hazlitt, not Brandes, not even Coleridge, has
yet thought of identifying either Duke Vincentio or Posthumus with
Hamlet, much less with Shakespeare himself. The two plays are very
unlike each other in tone and temper; "Measure for Measure" being a sort
of tract for the times, while "Cymbeline" is a purely romantic drama.
Moreover, "Measure for Measure" was probably written a couple of years
after "Hamlet," towards the end of 1603, while "Cymbeline" belongs to
the last period of the poet's activity, and could hardly have been
completed before 1610 or 1611. The dissimilarity of the plays only
accentuates the likeness of the two protagonists.

"Measure for Measure" is one of the best examples of Shakespeare's
contempt for stagecraft. Not only is the mechanism of the play, as we
shall see later, astonishingly slipshod, but the ostensible purpose of
the play, which is to make the laws respected in Vienna, is not only not
attained, but seems at the end to be rather despised than forgotten.
This indifference to logical consistency is characteristic of
Shakespeare; Hamlet speaks of "the undiscovered country from whose
bourne no traveller returns" just after he has been talking with his
dead father. The poetic dreamer cannot take the trouble to tie up the
loose ends of a story: the real purpose of "Measure for Measure," which
is the confusion of the pretended ascetic Angelo, is fulfilled, and that
is sufficient for the thinker, who has thus shown what "our seemers be."
It is no less characteristic of Shakespeare that Duke Vincentio, his
alter ego, should order another to punish loose livers--a task
which his kindly nature found too disagreeable. But, leaving these
general considerations, let us come to the first scene of the first act:
the second long speech of the Duke should have awakened the suspicion
that Vincentio is but another mask for Shakespeare. The whole speech
proclaims the poet; the Duke begins: