After the connection of Rose's portrait to her actual character, we see old Rose admiring a selection of recovered artifacts from the Titanic wreck. Among these is her hand-mirror. As she turns it, her reflection comes into view, giving the idea that she at that point reflecting on a pivotal moment in her life. We get the idea of the moment being a distressing turning-point from the crack in the glass.

Another artifact which greatly interacts with Rose's character development is her infamous butterfly comb. The entire movie contains references to the concepts of metamorphosis and emergence. This parallels Rose's emotional transformation like that of a caterpillar emerging from its cocoon to become a butterfly. The butterfly comb was chosen to symbolism this concept. The butterfly theme also comes into play later in the film, where we first see Rose stepping out of the Renault. The first part of her body we see is her hand, fully covered, as is her body apart from her face. This suit represents the idea of her being trapped in her 'cocoon', waiting to be free.

Later in the film, we see Rose let her hair down before being sketched by Jack. It is this moment in her life where she has chosen to emerge from her cocoon, spread her wings, and fly into the inevitable.

We next are introduced to the connection of Rose's paintings with her character, the most significant being her Degas collection. The Degas paintings represent Rose's admiration of his courage to try new things, a quality Rose herself has not yet discovered. It is also noticed that during any of Rose's confrontations with either Cal or her mother, the Degas painting of colorful dancers is always visible in the background, indicative of the freedom and joy Rose can only dream of.

We next see Rose at luncheon with other First Class passengers, after which she walks out to the deck, admiring the view of the ocean. This is also the point in time where Jack and Rose first see each other. The levels used in this scene are very indicative of the virtual impossibility of Jack ever being with Rose. She is on the higher level, while Jack is lower. There is a well deck between them both, an invisible barrier between the First and Third Classes. Behind her is the sun, emphasizing her angelic, innocent character.

After this point, Rose decides to try and end her life, escaping the grips of her Mother and Cal through the only way she knows. It is this point in the film where she first meets Jack, at the stern of the ship. The stern of the ship plays an important part in Rose's development. James Cameron writes,

"As a writer, I don't think Rose would really jump. This guy starts to 'talk her down', and she ends up feeling as though she has to go through with it to prove she was right. The situation cuts right through all of the personal boundaries, connecting Jack and Rose immediately at the heart level. They have a bond. There can be no secrets." (Cameron: 1998)

The stern is where Rose's main emotions exercised. First, her will to end her life, next her will to survive (during the 'cork' scene, where both herself and Jack ironically climb the opposite way over the rail) and finally when she opens her heart to reveal to the audience a secret she has kept with her all of her life (the Heart of the Ocean). We also see something towards the end of the film where Rose stands at the stern of the Keldysh. There is a shot very similar to that when Rose attempts suicide, looking up at her from the ocean's point-of-view. This parallel represents the idea that the young girl is still alive inside of her. The old woman still has many secrets, as she did when she was seventeen. The story of Jack and Rose is merely one of them.

Many thanks to all those fans who have taken the time to read this article. I'll be meeting you all once again next month, when we will look at the character of Jack Dawson. Until then, Bon Voyage!