"To your so infinite loss, so in our trifles
I still win of you. For my sake wear this.
It is a manacle of love. I'll place it
Upon this fairest prisoner."
When Posthumus and Imogen confess their love for one another, they exchange tokens – Imogen gives Posthumus a ring, and Postumus gives Imogen a bracelet. Here, he refers to the bracelet as a manacle, or restraining device similar to a handcuff. He even compares Imogen herself to a prisoner. While this is likely a flirtatious take on the concept of being "bound" to someone, Posthumus's insistence on Imogen's connection to him foreshadows his anxiety over her virginity later in the play.
"I know not why
I love this youth, and I have heard you say
Love's reason's without reason."
Toward the end of the play, characters start expressing their surprise over their increased affection for Fidele (who is really Imogen in disguise). Here, Arviragus (Imogen's brother) expresses a sentiment about filial love that is usually associated with romantic love: love is unreasonable and rarely makes logical sense. Arviragus cannot explain why he feels connected to Fidele, but admits his compulsion nonetheless. Here, Arviragus echoes the theme of fate without knowledge that appears in the latter half of the play.
"Wherein I am false I am honest; not true, to be true.
These present wars shall find I love my country,
Even to the note o' th' King, or I'll fall in them.
All other doubts, by time let them be cleared.
Fortune brings in some boats that are not steered."
In this quotation, Pisanio defends himself after being accused of a number of wrongdoings throughout the play. Ironically Pisanio is the most loyal and trustworthy character among the cast. Here, he expresses confidence that in time, his name will be cleared of everything being held against him, an argument akin to the philosophy that "the truth will set you free."
"Ambitions, covetings, change of prides, disdain,
Nice longing, slanders, mutability,
All faults that may be named, nay, that hell knows,
Why, hers, in part, or all, but rather, all."
In a lengthy speech declaring the deception of his wife, Posthumus here condemns and blames all of womankind for treachery, manipulation, and deceit. His reaction is notably misogynistic, but it is also ironic: he expresses these thoughts to Iachimo, the character whom, the audiences knows, is the true embodiment of all these unsavory qualities.
"His mean'st garment
That ever hath but clipped his body is dearer
In my respect than all the hairs above thee,
Were they all made such men."
In this quotation, Imogen insults Cloten by arguing that Postumus's "meanest garments" are more valuable to her than Cloten himself. Cloten – who cares deeply about social class and who cannot understand Imogen's rejection of him – is so insulted he repeats her words back to himself three times. Here, Imogen suggests that social class is unimportant when it comes to love, while Cloten places so much value on his status that her rejection sends him into a frenzy in which he vows revenge.
"You must forget to be a woman; change
Command into obedience, fear and niceness—
The handmaids of all women, or, more truly,
Woman it pretty self—into a waggish courage,
Ready in gibes, quick-answered, saucy, and
As quarrelous as the weasel."
In this quotation, Pisanio instructs Imogen to dispel with her feminine qualities and take on those of a man, as she prepares to dress as Fidele. The passage is amusing, as it encapsulates the perspective that many of the male characters have about women (that they are fearful, obedient, and nice) while simultaneously suggesting that masculinity is largely a performance – one characterized by a quick temper and arrogance.
"If in your country wars you chance to die,
That is my bed too, lads, and there I'll lie."
In this quotation, Belarius commits to fighting alongside his (kidnapped) sons on Britain's side. This moment help complicate Belarius's character, as he exhibits his own morals and commitments despite having been portrayed as a villain in the beginning of the play.
"I see a man’s life is a tedious one."
After being dressed as a man for only a short while, Imogen makes this remark at she travels through Wales. Here, the play addresses one of its major themes – gender – by suggesting that the lives of men and women are equally challenging, but perhaps in different ways.
"To lapse in fullness
Is sorer than to lie for need, and falsehood
Is worse in kings than beggars."
In this quotation, Imogen comments on social class, saying that it is more condemnable to be a high-class, high-status liar than a beggar who lies out of necessity. Here, the play suggests that social and moral standards are relative when one considers factors like social class, wealth, and upbringing.
"My peace we will begin."
At the end of the play, Cymbeline submits to Lucius and to the Roman Empire despite having won the war. He acknowledges their tribute and commits to paying it. Here, Cymbeline refers to this decision as his "peace," but in so doing he suggests not only an end to the war, but an end to the lies and deceit that have pervaded his court for the entirety of the play.
