Titular Cymbeline's stubborn and self-willed daughter Imogen embodies the spirit of feminism as she seeks simply to marry the man she loves. In the patriarchal society in which Cymbeline is set, Imogen is by law and in custom the king's property until she is wed. Essentially, Imogen is an object in every sense of the word. Posthumus Leonatus likewise views his beloved as an object of his own, albeit in a far different manner than that which Imogen's father recognizes her. An object, as Winnicott frames it, is something that has use or value in its utility for the subject. Given that Cymbeline enjoys the titular role in Shakespeare's play, it is safe to say that Imogen is suitably objectified and also that the playwright may be making deft commentary about the nature and consequences of objectification. An object is, after all, also empowered because of the power it has over the subject. The subject loses himself in the object, much as Cymbeline loses his power without Imogen's obedience and just as Posthumus Leonatus is bereft of his own intelligence until Imogen returns as Fidele. Shakespeare plays upon the subject-object duality in Cymbeline by adding a further symbolic dimension in the ring and bracelet. Imogen's ring becomes her surrogate, and likewise, Posthumus's bracelet symbolizes the man. When they exchange these objects, the two lovers objectify each other and therefore engage in a prenuptial game that closely follows the psychic evolution of objectified identification as it is described by Freud and Winnicott....

Winnicott's concept of objectified relating focuses on symbolic objects just like the ring and bracelet. The concept of objectification pertains largely to the evolution of the infant's fascination with the object, as the infant fixates on an object, identifies fully with it, links the object to certain qualities or states of mind, and especially to people like the mother. In the case of Imogen, her mother is absent in the play. The absence of the mother creates a dramatic psychic tension for the protagonist. Imogen will continually long for the union with the mother, and has no objective substitute for her. On the other hand, Imogen does have an objective substitute for her lover and fixates on that object, the bracelet.
The object begins as a direct extension of the self or as an item that cannot be easily distinguished from the person it symbolizes. As Winnicott points out, though, the object must eventually become externalized, realized as being completely distinct from the self. This is a moment of psychic awakening, and when, as Winnicott puts it, changes in the self take place on a deep level. Recognizing the self as being separate from the object is a potent moment in ego growth. The subject recognizes herself in the object, is enriched by that encounter, and depending on the degree of physical involvement with or interaction with the object, the interaction may become sexual in nature.

At some later point, the object may be symbolically destroyed, aggression taken out upon…