Painter Of The Night: Realization (part 2) – updated version

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

In the first part, I examined the realizations made by Baek Na-Kyum and Jihwa. I received many comments concerning Baek Na-Kyum as they weren’t convinced that the painter no longer perceived himself as a prostitute. I was happy for the feedback because it forces me to clarify my perception with much more details. Therefore before analyzing the last scene, I’ll elaborate my point of view more precisely as it is necessary to understand the true significance of the chapter 50.

For me, a prostitute receives money or favors in exchange for sex hence remuneration plays a huge role in the prostitute’s life. Furthermore, she or he has to follow the clients’ or pimp’s orders. She or he can never voice her/his own desires and wishes. But there exist some people called whore or prostitute because they have many sex partners and have a lot of one-night-stands. They don’t want to be involved in a serious relationship since they want to enjoy their sexuality freely, without any restriction. This kind of person is also judged negatively by moral standards, hence she or he is compared to a prostitute. However, they are in reality “libertines” and if you look carefully, Yoon Seungho is one of them. I doubt that the manhwaphiles would associate him to a prostitute. Moreover, let’s not forget that he was even described as such by his own friend Jihwa. So my thinking is that now Baek Na-Kyum has adopted Yoon Seungho’s way of life, the one of a libertine, unaware that his lover is no longer one, sexually speaking. That’s why people still think the painter is a prostitute as libertines are usually judged like ones. However all this is influenced by moral standards, yet their motivation for sex is different as it is connected to freedom and not money.

The irony is that the aristocrat has already become monogamous and considers the painter as his wife. He no longer organizes any sex session nor visits any sex orgy. He has already been reformed, like the folks in town noticed it. Since a libertine is linked to liberty (freedom), this explicates why I stated that the painter has liberated himself from the scholar. He is free to choose what he wants in his life. As a conclusion, the fact that Baek Na-Kyum has become a libertine outlines that the painter has definitely cut ties with the scholar but also explains why people still confuse him with a whore as the behavior of a libertine and a whore is quite similar on the surface, yet the incentive is different. Libertines don’t care about moral standards and traditions, they see all these as a restrictions of their freedom. Another aspect is that they don’t feel shame either therefore they never hide their way of life from others. They live the way they want and the painter’s words are reflecting this mentality.

Thereby it becomes imperative for the master to reveal his true personality in front of the painter so that the latter will perceive his lover in a different light. Right now, Baek Na-Kyum has a very negative opinion about Yoon Seungho, “a man consumed by lust”, hence he has a negative image of himself too. In other words, he is just mirroring the main lead’s past way of life. That’s why I said that he has become a person of his own, he has now a new identity, yet his “freedom” is limited as it is linked to Yoon Seungho’s reflection. To summarize, the painter still has not a good opinion about himself, since he has a rather negative judgement about his “husband”. His confidence is still very low, yet compared to before, it is much better as he is now thinking on his own and makes decisions for himself.

And in my opinion, this explication is quite important for two reasons. This demonstrates that Baek Na-Kyum has completely accepted the noble as his sex partner and the image the painter has about his lover determines their relationship. Since the latter is a libertine in the low-born’s opinion, then the commoner is also one. As a conclusion, both protagonists are standing in front of a crossroad: the noble has to show a different side of himself to the low-born but for him to do that, he needs to stop feeling insecure and jealous. He needs to sense the artist’s trust. And this is what is happening in the chapter 50. This episode marks a turning point in the master’s life as he makes two huge realizations. Now, you are wondering which ones. Consequently, it is time to examine the revelations Yoon Seungho has in the chapter 50.

Striking is that the lord went to the teacher’s chamber very early. His loyal valet Kim, used to dress him up, had no idea why the noble would rush to Jung In-Hun’s former chamber hence he arrived late. He doesn’t know the trigger for Yoon Seungho’s motivation. “Why would he go there, as the scholar has moved to the capital?” This is what the butler must have thought and he must have pondered about it. On the other hand, he must have seen the mess in the lord’s bedroom so that he must have come to the conclusion that something between his lord and the painter must have occurred.

Since the lord complains to his valet about his late arrival, it indicates that the former had already announced his intention to his butler. I explicates the reason for Kim’s delay as the following. The valet questioned his lord’s behavior. We shouldn’t forget that the loyal domestic has always made decisions on his own in order to help his master. Hence he often anticipated his moves, like for example, he knew that after the rape, Jung In-Hun could be in danger. Consequently he sent a servant from the library in order to let the scholar leave his room. Another example is when the butler asked for an aphrodisiac from the physician so that the painter would get an erection. He used Yoon Seungho’s trick in order to improve the relationship between Baek Na-Kyum and his master.

Therefore the loyal valet can’t understand the motivations behind the lord’s action, since the scholar has already left the mansion. He is well aware of his jealousy of the scholar as initially he heard the painter’s confession.

Besides, he was right, when he predicted the lord’s intention in the chapter 26, he would attempt to kill the former teacher with his sword. Then in the chapter 29, the master went to the low noble’s room again, once he discovered the painter’s escape.

The butler witnessed his master’s facial expression, when the latter heard that the servants had no idea where the low noble had gone. He wasn’t just infuriated, he was totally eaten by jealousy. Imagine, he belongs to the high nobility and the painter chose a low aristocrat with no huge income and connection over him. He, used to be surrounded by many nobles due to his wealth and power, kept experiencing rejections. Not only he was turned down multiple times but the person even preferred running away from him. The aristocrat made terrible experiences for the first time: not only jealousy but also he started feeling insecure. His reaction towards his servants (the beating) demonstrates that he was not just mad but also panicking, trying to vent all his negative emotions onto the staff. The one he chose because of his feelings for him had no consideration for him, a high noble. Neither wealth nor power nor force could make the painter submit to him. Only the butler could read his master’s expressions and behavior as an open book.

So if we go back to the scene 50, we see the lord in the former room of the scholar. Each time, he went there or wanted to go there, he was triggered by envy and resentment. As a first conclusion, he went to Jung In-Hun’s room because of his jealousy. And the lord’s appearance confirms this statement. Many readers noticed the beautiful lord’s hanbok.

He is wearing a black robe with short sleeves and the pattern is in red. Since many of my readers already know the signification of the clothes in this manhwa, they were already able to perceive the master’s feelings. He was full of anger and jealousy. Since black often refers to death and red to blood, there is only one conclusion left that can explain the lord’s motivation behind his visit in the scholar’s room. He wished, he could kill the man. That’s why he went there with his sword, he felt the need to destroy the books symbolizing the low noble. Consequently the manhwalovers see him cutting a book with his sword.

This gesture actually symbolizes the scholar’s execution. Let’s not forget that Jung In-Hun’s image is associated to books hence we often saw him surrounded by books. In the second picture above, he is so furious that he can’t restrain himself from destroying the book. If the learned sir had been present, Yoon Seungho would have definitely killed him. To summarize, the master went there because of his jealousy and his urge to “kill” the scholar, well aware that this was not possible.

But we have now to ponder about the following question: Why would he feel so jealous again? What was the trigger for his “pointless” action? Even the valet was puzzled by this reaction. Only the manhwalovers can answer this as they witnessed the special night before. Yoon Seungho got a confession, finally… but this was so different from the one he heard in the chapter 20: The painter didn’t express any admiration nor love for him. In the new confession, the master was more or less degraded into a tool, a sexual body: He is not the recipient of the painter’s love, the artist feels only attracted to him physically. He is the one who can make the painter feel good but that’s it. Who wouldn’t feel envious of Jung In-Hun who was literally worshiped by the painter? Since the chapter 20, the noble has been waiting for the same confession but this time addressed to him for real. He wants to feel admired and loved by the commoner, yet the latter still refuses to give in in this aspect. In other words, he got rejected again, yet the kiss and the caress stopped him from getting angry again. In that moment, he felt that the gestures let transpire more than the commoner had conceded. But we shouldn’t forget that despite this, the noble couldn’t forget the rejection and saw the huge contrast between the two confessions. No wonder why he still felt resentful and jealous. On the other hand, the valet Kim never got to witness the second confession therefore he can’t comprehend the master’s motivation. Because of this weird confession, the noble made up his mind: he accepts the painter’s confession, hence they are just sex partners and nothing more. He will never be the painter’s confident. However, what caught my attention in the lord’s thoughts is the word “need”. He definitely felt the need to share their thoughts. In reality, he longed to be the recipient of the painter’s love. What he mistook for “mind” was in reality “heart”. I have also the impression that this mistake can be explained by the first love confession he heard from the painter. Observe that the artist never used that word love and only utilized the semantic field about the mind: respect, admiration, pining. Everything was revolving around the mind and not the heart. Consequently he could recognize that what he was longing to get was the painter’s heart. Besides, I have already stipulated that the main lead represent the opposite of the painter. While the painter’s unconscious expressed during his sleep or daydream, the lord’s unconscious revealed itself, when he was awake. Therefore I come to the following interpretation: The choice of the hanbok doesn’t just mirror the lord’s jealousy and thirst for blood, it also reflects the bleeding of Yoon Seungho’s heart. When he made up his mind, he was really sad, I would even say, he was literally dying.

You might have already noticed it but I didn’t follow the chronology of the images from the chapter 50 and there is a reason for this. I wanted to follow the chronology of the event with their causes as it is imperative to reconstruct the motivations of Yoon Seungho, step by step. Once he woke up, he was envious as he couldn’t forget the confession. He chose the red and black hanbok with short sleeves for two reasons: he resents the scholar deeply and he feels like he is dying.

Since the valet has no idea why the couple argued, he can only imagine that there can only be one cause: the scholar’s words said to the painter. Consequently the loyal servant decides to finally reveal to his master the conversation between the painter and his learned sir overheard by servants working at the library.

This is quite important because it illustrates once again the liberty valet Kim is taking concerning his master’s love life. He has known about the content of their conversation for a while but chose to hide it from his master as he feared that the latter would be displeased and even envious. This would also explain why the domestic Kim went personally to buy the painter’s material. The gentle man was well aware that his master’s lover had been hurt by the scholar’s words. He thought that if he kept putting new brushes and an ink stone next to Baek Na-Kyum, the latter would realize that he was a painter in reality and no prostitute. However, his actions didn’t help neither his master nor the painter. Remember the saying: “The road to hell is paved with good intentions”. And this is exactly what is happening. The valet caused more agony to both protagonists with his actions. First, he asked the tailor to hide the true identity of his master’s lover to the folks, then he never confirmed the real status of Baek Na-Kyum to Deok Jae (he is just favored) so that he kept the painter in a very ambiguous status, which his lord didn’t catch. The painter had been literally destroyed by these poisonous words and the butler didn’t even comfort the man because he couldn’t. Due to Kim’s neutrality/passivity, the lord’s behavior could only reinforce the negative reflection the painter had about himself and his sex partner. We shouldn’t forget that Yoon Seungho was described in the first chapter of the second season as someone obsessed with his new lover. The lord initially imagined that he had finally won and enjoyed his time with the painter, only to slowly realize that he was still missing something: the lack of passion and warmth. But the valet Kim kept this important detail from him. That’s why the master is so angry with his loyal domestic and with the low noble. The former acted on his own accord, although he is just a servant and Jung In-Hun, despise his absence, was still able to cause trouble in his relationship with the painter. Therefore Yoon Seungho feels the urge to kill the scholar symbolically, once he discovers the truth. He comprehends the painter much better, why he behaved like a prostitute, why he had lost his strength and strong will.

The black in this drawing represents the darkness and hatred for the scholar hence he uses his weapon to destroy the book.

The readers should now wonder why the valet Kim desired to hide this conversation from his master and why he keeps relativize the words exchange.

Based on this image, it becomes clear that the domestic’s intention is to protect his master from any pain. What could hurt the lord the most? The first thought would be Jung In-Hun’s portray of his actual sponsor. The judgement of the rich noble was so negative. He was described as a person led by his sexual desires, incapable of controlling his emotions and acting like an undignified noble.

chapter 40

But I doubt, this is the real reason for the valet to camouflage this conversation. My explication is based on the chapter 28. I would like to point out that both chapters (28/50) have many similarities:

– Yoon Seungho’s longing for the painter’s love

– Baek Na-Kyum’s rejection

– the lord’s fury and jealousy towards the “learned sir”

– his visit to the scholar’s room

In the chapter 28, Yoon Seungho discovered that Baek Na-Kyum disobeyed him. The artist had run away from the lord illustrating that the commoner had chosen the scholar over Yoon Seungho. If we pay attention to the chapter 40 now, we remember that the origin of the quarrel between Jung In-Hun and his former student is responsibility. The painter went to the library asking his teacher to take responsibility as he had implied it before. However, the jealous and arrogant man couldn’t allow a low-born to question his authority. Besides, he was even somehow forced by him to take responsibility. In that scene, the scholar refused this idea and even abandoned the painter with the simple excuse, he saw Baek Na-Kyum as a prostitute. He can’t be tainted by him. In other words, the painter remained at the mansion because he had nowhere else to go, he didn’t choose Yoon Seungho in reality. He had no option left. That’s how the valet interpreted the commoner’s decision. He anticipated that the noble would be hurt, if he disclosed this secret. Baek Na-Kyum didn’t pick him, just like in the chapter 28. Remember that Kim paid attention to his master’s facial expression and he didn’t want to relive such a scene. And now, imagine how he was already dying because of the weird confession he received from the painter. It was as if he was getting another stab in the heart.

What the valet Kim failed to see is that he didn’t always possess all the information. He wasn’t present, when the lord triggered the painter to question his own motivation: Why would he support the low noble in his career, if he expected nothing? Here, in this drawing, the noble is definitely pushing the artist to interrogate the true nature of his relationship with his learned sir, while at the same time he shows that he’ll assume the responsibility for him. But in this scene, the manhwalovers could never see Kim as he had been left behind at the tailor shop, taking care of the order for the new clothes. If the lord had known about the existence of this conversation, he would have been happy and not hurt, since he would have noticed that his words and actions had affected the artist. Yoon Seungho is well aware of the true meaning of this exchange, while the valet Kim wasn’t.

Moreover, the conversation was overheard by the domestics which is quite important because at the end, this is what they noted:

  1. Baek Na-Kyum comes from a brothel
  2. He was abandoned by Jung In-Hun who only considers him as a prostitute.
  3. The painter has a sexual relationship with their lord, confirmed by a noble. This is no longer a gossip.
  4. He became a painter of sodomy because he witnessed it at the brothel
  5. Jung In-Hun implied with his terrible words that the painter was depraved, a man consumed by lust.

From my point of view, this is relevant because it gives the reason why Deok Jae looks down on the painter. He must have heard from other servants about this conversation. He might be a commoner too, yet he wasn’t raised at a brothel. I do think that some of the servants might have adopted the scholar’s judgement. However, since the incident at the kitchen, the servants got to fear the master’s punishment for expressing so openly their disrespect. But this doesn’t mean that Baek Na-Kyum has been openly accepted by all the servants at the mansion. His special status with their lord and his origins could only reinforce the bad impression some domestics had about the new sex partner. The manhwalovers recognize that the head-maid from the kitchen has already accepted Baek Na-Kyum but Deok Jae is the proof that there is still some resistance and resent among the staff.

Yoon Seungho realizes that his servant has been acting on his own hence he scolds him. He needs to remind him of his real status. His advice is not helping his cause that’s what the noble realizes. Why should he doubt the content of the overheard dispute, when it explains perfectly why the painter behaved like a whore and was just an empty shell? Kim is dismissing it because he fears the lord might get hurt due to his jealousy. Therefore he is questioning the true content of the exchange (“it may not be accurate”).

Here, the noble gets aware of the scholar’s shadow. He might have sent him away so that his relationship with the painter could improve but it didn’t really work like he had imagined.

What caught my attention in this scene is that we never see the lord’s face, only from behind. The readers are not permitted to see the noble’s face because they are encouraged to imagine his emotional state with the following details: the location, the sword,

the hanbok, the gestures

and his words are clearly underlining his pain, resentment and jealousy. However, this changes the moment the author adds this picture: a zoom on the master’s gaze.

This gaze is only revealed after the following flashback.

The lord remembers the painter’s sleeping face oozing tranquility and comfort. Here, the noble was first surprised by the painter’s reaction. He didn’t even wake up from the kiss. So when he recalls this moment, he has a huge revelation. Despite the decision he made (they were just naked bodies), he felt something else. He couldn’t help himself to kiss the painter, although the latter was already asleep. He felt the need to share what was on his mind… or better said what was on his heart. He had to kiss him. Yet, this supposed “exchange of thoughts” occurred, while Baek Na-Kyum was asleep. That’s his realization. He can’t be satisfied with the intercourse. That’s why he finds it strange. He mistakes the origin of his actions. He has the impression that his mind is behind all his reactions, while in reality, it’s his heart pushing him to express his love. He senses that he wants more but can’t explain it exactly. He is no longer satisfied with pure physcial interaction. That’s what he realized. He knows that the painter has finally been capable to distance himself from the low noble, yet his shadow is still present. Due to him, he is not able to get what he is longing for: he believes, he wants an exchange of thoughts.

In my opinion, the remark “how strange” is linked to himself. He is actually introspecting his new emotions or better said, his “thoughts”. I couldn’t help myself to connect this drawing with the following scene in the chapter 27.

The painter stopped Yoon Seungho from murdering the scholar by using his own body, barely clothed. When the painter discovered the master’s huge erection, he distanced himself from the noble. In that moment, the powerful protagonist looked at the painter’s face and saw his tears flowing, reminding him of their wedding night, where the painter had cried out of joy and happiness. In that scene, the wealthy main lead couldn’t help himself from looking away from the painter’s visage covered with tears.

Then he made the following remark:

He couldn’t recognize the origin of his fury, he was terribly jealous of Jung In-Hun. The lord had never felt anything for a long time because he had been living like a zombie. This discloses why the lord has some difficulties to understand his own motivation and feelings. From my point of view, the readers are confronted with a similar situation in the chapter 50, however this time, he is discovering new feelings, actually positive ones. I do think that there is happiness and relief. He realizes that the painter has cut ties with the scholar, the latter is no longer his admired “learned sir”. Notice that his eyes are not showing any negative emotions, rather a certain relief.

To summarize, he went to the scholar’s room out of fury and jealousy, just like in the chapter 28, yet this time, his face doesn’t turn sour, he is somehow relieved at the end. He senses that there’s a breakthrough. He has achieved something: the painter is no longer pushing him away, feels relaxed enough to doze. During that night, he couldn’t interpret the true nature of the incident as he had been first worried that the painter had gotten sick again. We know for sure that he worries a lot about the low-born’s health. Even in his sarcastic comments, he lets transpire his worry. Now, you understand why it is important to know this manhwa very well. The previous chapters help me a lot to perceive the thoughts and emotions of the main characters. Byeonduck uses the episodes from the first season to enlighten the development of her characters, underlining their transformation. In the beginning of the chapter 50, the manhwaphiles witness how much the main lead has changed. He has become very gentle, selfless and making sure that his lover is feeling well. But he is still ignorant of his own feelings. For him, reasoning is the cause of his behavior. Let’s not forget that during the first season, the main lead had to ponder a lot and even suffer due to remorse. So the painter did occupy a big place in his thoughts that’s why the lord is still making the mistake. On the other hand, he is now capable of expressing his love much better, although the artist couldn’t see it with his own eyes. However, his body has already sensed it.

And now, I would like to analyze the final image in order to close this long essay.

This image has an empty alt attribute; its file name is image-127.png

On the surface, we could say that the shadow represents the scholar. Although he is actually at the capital, his presence is still there affecting the painter’s life and his relationship with Yoon Seungho. Nevertheless, we know that this is the protagonist’s shadow. What does this drawing mean? In my opinion, this is actually foreshadowing the rich noble’s future evolution. He will become the “learned sir” the painter has always longed for. But this will take some time, until it becomes true therefore he is just a shadow.

We shouldn’t forget that Baek Na-Kyum has always addressed Jung In-Hun as learned sir because he admired him for his “intelligence” and “knowledge”, unaware that behind his words and smiles, Jung In-Hun was never the learned sir the commoner had imagined. He was in reality an illusion. During this chapter, Yoon Seungho heard that the scholar told his lover that the latter was born to be a prostitute. Hence the noble is smart enough to realize that if he wants to get the painter’s recognition, he needs to prove the low noble’s words wrong. The lord is standing in front of the books and this is his future role. Actually, he has already started acting as the painter’s teacher because he encouraged the commoner’s “critical thinking” (chapter 40).

That’s why I would like to remind my readers of what I wrote at the beginning of this analysis. I described Yoon Seungho as a libertine due to his sexual practice. However, a libertine is more than just a person experiencing his sexuality freely. In reality, libertine is a free-thinker. The Libertinage is tightly related to the Enlightenment, an European movement from the 18th Century, where reason and critical thinking were central.

The German philosopher E. Kant once wrote: “Enlightenment is man’s release from his self incurred tutelage. Tutelage is man’s inability to make use of his understanding without direction from another. […] Have courage to use your own reason”

A libertine questions authorities like the king’s or church’s, religion and its dogma. He experiments and uses his own mind in order to find solutions. He rejects any form of doctrine coming from above. In other words, a libertine stands in opposition to traditions and ancient rules. A libertine advocates liberty and equity, values that were defended during the American and French revolution. The problem is that libertines often lived their sexuality openly so that in the long run, the Libertinage was reduced to the sexual aspect. Yoon Seungho as a true libertine rejects social hierarchy hence he doesn’t view his relationship with a low-born as a problem. He reads a lot in order to improve his knowledge. As you can detect, he embodies the opposite of Jung In-Hun. That’s why he has another reason to despise the shallow noble.

Yoon Seungho will transform into the “learned sir”, Baek Na-Kyum has always been longing for. For that, he needs to teach the painter writing and reading. That’s why the books are in the middle of the picture. The master hasn’t slipped into the role of the teacher yet. However, I am sure that the master will do it very soon. Now, he has the knowledge, why the painter kept seeing him and himself as “men consumed by lust”. These were the poisonous words said by the jealous noble. The painter never saw “his lord” with books, the only ones he was seen with were the erotic publications, even in the chapter 23. Since Baek Na-Kyum has now adopted the doctrine of a libertine, then he is already open to this idea of receiving lessons from Yoon Seungho. The latter will show him what a real libertine is, it is not just about living his sexuality freely, it is also thinking freely, see beyond the facade and recognize the true nature of people. He still needs to perceive Jung In-Hun’s vicious and cruel personality. However, there is still a long way to go because the lord is now hurting. He knows now why the painter remained by his side. He never won his heart and he discovered it due to the valet’s revelation.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: Realization (part 1)

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

There is a reason why I chose this title for the chapter 50. First, I noticed many parallels between Jihwa, Baek Na-Kyum and Yoon Seungho. The three of them come to a realization in this chapter. To sum up, the painter wants to listen to his body from that night on and is no longer repressing his sexual desires, while Jihwa’s unconscious is telling him about the real consequences of his decision to have the painter killed. Finally, Yoon Seungho gets to know what Jung In-Hun told his lover Baek Na-Kyum at the library and realizes in the retrospective why the painter behaved like that. Furthermore, the word “realization” appears twice in this chapter.

Kim is the one talking to Yoon Seungho. He had no idea that he was in the former scholar’s room.

Sure, one might say that the first picture appeared in the former chapter, yet Byeonduck chose to utilize this picture again and this is no coincidence, it actually announces the topic of the chapter 50. Furthermore, this also underlines the painter’s huge transformation. Just like Jihwa and Yoon Seungho in the chapter 50, Baek Na-Kyum has a revelation too. He won’t live based on Jung In-Hun’s doctrines, he will let his body lead him and he will no longer feel any shame. He will live the way he wants. Let me repeat myself: here Baek Na-Kyum is no longer perceiving himself as a prostitute, when he says this because as a prostitute, he had no identity. Now, the repetition of the personal pronoun “I” indicates the return of the painter’s confidence. He is a person of his own after all. He will no longer fight against his own sexual desires like in the first season.

In other words, all the major characters have a revelation. The first important event in the chapter 50 is the painter’s nap.

He actually felt comfortable enough in the noble’s embrace to doze. Incredible, if you observe the way the noble held him (second picture above). What caught my attention is the lord’s reaction, when he notes the artist’s lack of reaction. The main character gets shocked and even panics.

“What if the artist got sick once again?!”, this is what the noble must have thought. This scene is really important because the manhwaphiles are here reminded of the sex marathon. The similarities with the sex marathon are not random. We had some rough sex in the beginning and at some point, they stopped for a moment, only to do it again for a while . The hug in the chapter 32 contrasts so much to the hug in the chapter 49. In the former, they weren’t facing each other indicating the gap between them. In the latest episode, the noble is truly comforting the painter, he wants him to rely on him, to trust him, whereas in the past, the noble was determined to have the painter recognized his own sexual orientation. As much as he wanted the painter to feel pleasure with him, Yoon Seungho’s other motivation was to satisfy his own sexual appetite hence he paid no attention to the artist’s health condition. The other difference is that in the chapter 49, the painter was the one initiating the second part of their love session and not the lord this time. By comparing both scenes, it makes the manhwalover realize Yoon Seungho’s huge metamorphosis. He is no longer selfish and inconsiderate. He definitely prioritizes his lover over himself.

He actually allowed the painter to use him so that he would feel good. Sure, he was annoyed by his admission. But once kissed, he sensed that the painter’s words were contradicted by his gestures (the caress and the tender kiss). The other divergence from the sex marathon is that he didn’t notice Baek Na-Kyum’s sickness right away. He was drinking, when he detected the artist’s lack of move. He didn’t try to drink. In the latest chapter, he sensed it right away.

His response was immediate, he touched the painter’s forehead and looked at his facial expression. The other contrast is the kiss. While in the chapter 33, he kissed him in order to have him drunk some water, here his kiss was an expression of deep love and not despair mixed with affection.

Furthermore when he caresses the low-born’s cheek, it was as if his hand was serving as support for the artist’s head.

There is so much tenderness and affection oozing from his gestures, which was only briefly perceptible in the chapter 33. Here, there was an emergency, while in the chapter 50, the main lead has no reason to be so gentle and affectionate except to feel the need to express his love for the painter. At no moment, his gaze diverts from Baek Na-Kyum’s face, his eyes are always focused on his lover during that night.

By the way, in the drawing above, we can clearly observe the presence of a hickey, so the noble is definitely marking the commoner as his “lover”, as his “wife”. He did it before but back then, the painter had no idea about it. Striking in the last picture is the lord’s gaze. He says nothing but his eyes are showing surprise and a certain fascination for the painter. The latter is resting without revealing any pain, tear or worry. His calm face exhibits a certain tranquility. It was, as if he had found some peace. And this leads me to the next observation: Baek Na-Kyum’s sleep exudes a certain trust towards Yoon Seungho. When he shared the aristocrat’s bed for the first time, he couldn’t relax and fall asleep, unlike his partner. He felt the noble’s presence due to the tight hug. He wasn’t able to repose at all. He could only doze after witnessing, how vulnerable the noble was. He realized that the aristocrat needed him for real and there was no danger coming from him. (chapter 37/38) Notice in the chapter 50 that he fell asleep while fully embraced, although his position was even less comfortable than when he was in the master’s bed. So through his sleep, the manhwalover can detect that the new rule set by the painter (“let my body take the lead”) has come true. His body is already telling him that he can trust the noble, while his mind still fears to depend on him. His heart and mind have been scarred due to Jung In-Hun’s hypocrisy therefore the commoner is consciously convincing himself that he should keep a certain distance from his sex partner. Yet his soul is doing the opposite. In his doze, he lets his head rest on the noble’s hand. He doesn’t wake up from the kiss either. As a first conclusion, the choice, the artist made consciously, comes true. He allows his body to follow his instinct. His body already relies on Yoon Seungho and this is only a matter of time, until his mind comes to the same realization: he loves the noble and he can rely on his warmth and love because his emotions are profound and genuine. So the first scene is important for two aspects: the readers can perceive the real transformation of the rich protagonist’s personality (from a selfish and rude to a gentle and selfless man) and the painter’s realization helps him to connect to Yoon Seungho, although it is just his unconscious.

Now, let’s take a closer look to the third realization, Jihwa’s.

chapter 50

The red-haired noble is having a nightmare. Interesting is that due to this scene I detected some parallels between this young master and Baek Na-Kyum which I didn’t catch before. In fact, both characters have much more in common than I had even imagined, which I will explain all along. First, both have a dream, where the repressed desires and thoughts are revealed. In other words, Jihwa’s nightmare is also the expression of the aristocrat’s unconscious contrasting so much to his conscious mind. He made the decision to get rid of the artist due to his resent and jealousy, while the unconscious is telling him the truth about the repercussion of his resolve: it displays what will happen if his decision consciously made comes to the realization.

His nightmare reveals a lot about our second character. He might act like a spoiled and selfish child, yet his true personality is not so corrupted as his unconscious embodies rightfulness. He knows that if the assassination takes place, he will regret it forever. Striking is that while the painter’s unconscious was influenced by his repressed sexual desires, here the noble’s unconscious is under the power of the mind. His mind is telling him to distinguish right from wrong.

Striking is how the author introduces the aristocrat’s nightmare. It begins with the bloody hand.

This drawing made me smile because I couldn’t help myself connecting this image to my analysis entitled “the helping hand”. Here, I had described Jihwa as Min’s helping hand. Through him, Min can get rid of a rival without being involved directly so that he can take his place as the new alpha in the sodomite community. This drawing represents the visualization of my explanation. The aristocrat’s unconscious is showing him that he will have blood on his hand, although he won’t be the one killing the low-born. Once he has dirtied his hand through his order, his soul will get wounded and will lose his purity forever.

That’s why his face and body are covered with the low-born’s blood. So my other interpretation about Jihwa as spoiled and selfish child is confirmed with this nightmare. As a child, Jihwa’s soul is still innocent. In the past, I used to condemn him because I was focused more on the aspect “spoil” and less on the aspect “child”. Yet he is less pure and innocent than the painter as he is a noble. And this seems to corroborate my other perception about Joseon nobility as well. The aristocracy is the cause for depravity, for Jihwa’s corruption, just like the main lead judged it correctly. While Baek Na-Kyum’s soul was tainted by the low noble Jung In-Hun, the red-haired noble’s innocence was soiled due to his connection to the noble with the mole and Min. Both characters were manipulated, the low-born by a black mind (Jung In-Hun) and the noble by a black heart (Min). This explicates why Jihwa chose to ignore his “mind” as his own heart was influenced by Min and Baek Na-Kyum chose to ignore his body as his mind was molded by the teacher. Consequently he chose to ignore his sexual desires, in other words, not to listen to his body. As a first conclusion, this nightmare points out that unlike the other nobles, Jihwa’s soul contains some purity which would explain why Yoon Seungho tolerated his childhood friend for so long. He knew that his friend had no bad core that’s why he didn’t hurt him physically in the chapter 18, he just scared him. Notice that he was never present during the sex sessions (chapter 8) or orgies (33/34).

Jihwa’s behavior seems to reinforce my description of him as a child. He is biting his nails. He already started with this bad habit, when he accompanied the killer to Yoon Seungho’s mansion.

This was just one finger nail so after waking up from his nightmare, the beholder can observe that all his nails are bitten.

All his finger nails are red illustrating his anxiety and remorse. He has definitely huge pangs of conscience. He can’t fall asleep hence he drinks a lot in order to numb his mind and soul.

The chaos of his room mirrors the chaos in his mind and heart. I can even envisage that his rest must be always tormented by nightmares as he speaks about his possible death due to his anxiety. From my point of view, not much time has passed, since he gave the order based on the killer’s words and his bitten finger nails. The maximum can only be one month. If we pay attention to the lord’s room, we will notice a huge contrast with his room in the chapter 21, despite the same chaos.

In the previous chapter, he is angry and due to his fury, he destroyed his room. However, he could stand on his own feet, was able to sway the sword and he had his hair tied with a topknot. So his appearance was still intact. In the chapter 50, he is on his knees, unable to grab anything, even hiding his face from the world. It was, as if he couldn’t even face people due to the bad decision he made, accompanied with huge pangs of conscience.

His fashion is neglected, his hair is loose revealing that he no longer cares for his image at all. He doesn’t even hide his torment and tears from the servant. The pressure due to his huge pangs of conscience made him collapse. He is literally gnawed by remorse, it is even worse than in the first season after the quarrel. I would even say that the readers witness his slow break down. First, he was enraged, then he started drinking. Later he didn’t even pay attention to his clothes and image (chapter 41) and after hiring the assassin, he looks even worse than in the chapter 41. Neither alcohol nor sleep can help him to relieve his anxiety.

His gestures in the drawings above display his despair and agony. We could say that the man is slowly dying due to his guilty conscience. The nightmare is the proof of his anguish. As a conclusion, the more Jihwa resented and hurt the painter, the more he crumbled down. At the end, he can’t even stand, he is lying on the ground on his knees, too ashamed of his own decision.

Like I wrote above, the bad dream is the proof of his guilty conscience and the realization of the terrible decision he made. But now, it is time to examine the other images from the nightmare as they unveil many other details that Jihwa hadn’t recognized yet or better said, he chose to ignore in the past, yet his unconscious is notifying him otherwise.

The third illustration of the nightmare is showing the painter’s corpse covered in blood. I judge this picture as a proof that Jihwa is even less evil than he seemed to be. This drawing indicates, when he sees the low-born’s corpse, he already feels guilty. As you can see, although the noble despised the painter because of his social status and called him a “vermin”, he still perceived him as a human being. So his unconscious is revealing that killing Baek Na-Kyum is wrong, as he is killing a person with this planned assassination. In fact, the more the nightmare progresses, the bigger the remorse is and it increases to reach its climax with the following drawing:

The growing of Jihwa’s anguish is related to his relationship with Yoon Seungho. His unconscious is actually showing him that with this assassination, he won’t just kill the low-born but also his friend and loved one Yoon Seungho. Pay attention to the noble’s gaze: there is some shadow covering the red eyes, even his eyes are expressionless. By assassinating Baek Na-Kyum, he will wound his friend terribly to the point that he will become an empty shell, like a zombie. This illustration is interesting because it also displays that Jihwa’s unconscious knew that the main lead’s gaze was the mirror of his soul. Secondly, his repressed mind is whispering him that he knew all along the love the protagonist had for the the painter but he chose not to listen to his unconscious/mind and let his emotions get the better of him. He didn’t want to accept the truth: his friend had already fallen for the artist, although his mind had perceived it.

What caught my attention in the bad dream is the importance of the gaze. The main character’s eyes reveal his emptiness and mental death, just like

the artist’s dead gaze serves as a proof to confirm his death. However, in the illustration above, I detect another aspect, the significance of the painter’s gaze. I interpret this image as an evidence that the red-haired noble knew about the meaning of the locked gaze between the two protagonists. His unconscious caught the attraction the painter had for the noble, yet Jihwa was determined to ignore his mind, his jealousy and resent clouded his judgement. He preferred to follow his body (his heart): he allowed his emotions to take control of his mind. As the manhwaphiles can note, I perceive some similarities in the red-haired noble’s behavior and Baek Na-Kyum’s. Both chose to ignore what their unconscious were telling them. Baek Na-Kyum used the mind to control his body, whereas Jihwa did the opposite. He let his body take the lead which is now tormenting him. Jihwa’s action mirrors the painter’s decision, only it is the reverse.

By ignoring his mind, the lord is now living in hell. While the painter was destroyed by the low noble’s words (“you were born to be a prostitute”), the red-haired master was also destroyed by Min’s suggestion

. First, he didn’t notice Min’s perversion as he was too overwhelmed with his recent discovery. His childhood friend was having sex with the low-born for real. Besides, he witnessed the tender hug so his only explication was he had been bewitched. Anyway, under the influence of his emotions, he only started worrying the moment the killer looked at the mansion and his target. The irony is that whereas the painter was just acting like a prostitute and showed no real and deep feelings, Jihwa behaved the exact opposite. His huge amount of guilt and tension makes him so nervous and unstable. He can’t calm down at all.

While looking at the painter’s gaze, the childhood friend appears holding the deceased’s face indicating that the red-haired noble is well aware that this plan of assassination will affect Yoon Seungho.

Notice that Jihwa opens his mouth and calls his friend. It was as if he wanted to justify his action but he can only say Yoon Seungho as he is not able to find his words. After, the remorseful man focuses his gaze on the lord’s mouth waiting for the friend to speak.

This image represents Jihwa’s perspective, he is hoping that the main character will forgive him or say something that can remove his pangs of conscience. But no sound comes from his mouth therefore Jihwa decides to confront his fear and look at his friend’s face.

The fact that the noble replies nothing to his friend illustrates the devastation caused by the painter’s death. His friend is literally left speechless as he still remains silence. It was, as if he had lost his mind and we all know that Yoon Seungho is someone who usually masters words and is capable of quick thinking. His eyes and his mouth are dead, this image displays the protagonist’s destruction. Jihwa killed his friend’s heart and mind.

The latter is so shocked by this revelation that he wakes up from this bad dream. He’s still ignoring his unconscious, his conscience is telling him that this murder will have terrible consequences. He won’t just lose his friend but also his own soul, tarnished by this murder as he is the one who ordered it. His hand is covered by the painter’s blood. His mind is blaming him, while he fails to realize that Min is the real responsible, which actually shows the red-haired noble’s innocence again. He hasn’t got aware that he has been manipulated by Min’s black heart.

Since through this analysis, I realized how similar the painter and the red-haired noble are due to their innocence, it becomes now even more obvious that Jihwa can only remain pure, if he stays away from Min and his friends. In other words, he should distance himself from the nobility and meet other people. And now, I would like to say that the killer seems to be the more adequate person for Jihwa. First, just like Yoon Seungho, he has experienced so many bad things that he is not afraid of dirtying his own hands. Since Baek Na-Kyum is a low-born, pure and emotional, and Yoon Seungho is the man with more knowledge and experiences personifying the mind, the other OTP represents the reverse: the noble Jihwa is pure, while the commoner is the strategist and the mind. Although we don’t know him well, he seems to quite perceptive, as he can judge people’s true personality. He is able to discern Jihwa’s anxiety hence he stops him from biting his nails.

He is well aware that this aristocrat is quite a novice and won’t feel well. Consequently he gives him the order without disrespecting him

I am now wondering why he asked the noble to wait. Maybe he is looking into the circumstances of the ordered hit. In the chapter 43, I felt no real connection between the killer and Jihwa, as I was definitely too focused on Jihwa’s childish behavior and selfishness to feel any admiration for him. Now, it seems that the author decided to listen to her readers and followers shipping Jihwa with the killer, as this chapter represents the realization of their wish. Notice that Jihwa doesn’t reject the killer’s hand, although he knows that he is a commoner, even an assassin.

This is quite telling about the evolution of their relationship. The question is: will the killer do as he has already been paid? Now, I think that the attempted assassination could turn out differently. Envisage, if the killer decides not to follow Jihwa’s order, I doubt that Min will let the problem remain. He will use someone else and it could be Deok Jae.

As a conclusion for the first part, it is slowly dawning on Jihwa that he could lose more than he gains with the painter’s death. His nightmare displayed him the consequences of his immature decision: he will lose his childhood friend for good as he will become an empty shell. This illusion reinforced the statement that Jihwa does love Yoon Seungho despite his selfishness, he showed concern for him in his bad dream. Jihwa is indeed more innocent than I had realized it in the first place. As you can see, this chapter 50 revolves around realization. The characters and the readers, including myself, had all a revelation. In the second part, I’ll examine the final scene with Yoon Seungho.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: 🤓Jung In-Hun’s poem, an analysis

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:

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Thanks to my follower @Unfairy_Tales and to the blogger @theprocrastinatingredkitty, :// (Since the whole post would show up, if I quoted the link, I add to remove the https), I was finally able to get the original poem written by Wang Bang-Yeon. The author from that blog explained a lot about the historical period which was quite insightful, that’s why I will summarize this briefly.

Year of birth and death unknown, the poet and official Wang Bang-Yeon is said to have lived in the time of Joseon’s sixth king Danjong (1441-1457) and his successor king Sejo (1417-1468). As the official of the state tribunal, he followed the young king Danjong into his exile and gave him poison to drink by royal command. He left a poem revealing his yearning for the king. And this is exactly the poem the author Byeonduck used for her manhwa.

However, my essay will be different from @theprocrastinatingredkitty’s, because my purpose is to compare the original poem with the one composed by Jung In-Hun. By comparing them, I believe that the manhwalovers can perceive the scholar’s personality much better.

First, we need to examine the circumstances how Jung In-Hun came to “compose” this poem. The teacher must have given Baek Na-Kyum the verses as a farewell gift, when he sent him away after making sure that the artist would never paint any erotic picture. This would explain why the low-born treasured this poem so much as he thought, this would illustrate the scholar’s feelings for him. He had the impression that this sonnet would express the scholar’s yearning due to the metaphors used in the poem. What he didn’t know was that the scholar had just copied it from the original. In other words, the yearning that transpires in the scholar’s poetry is actually the longing of the original author, Wang Bang-Yeon, and not the aristocrat’s fascination. Since the commoner had no contact to poetry, he couldn’t know that this was just a plagiarism.

Now, it is time to take a closer to the poems. This is the original:

“Parting from my sweet lover at ten million ri long distance,

Having no place to put my mind at, I am seated by the stream.

That water is going on its way at night, crying in my mind.”

And here is the plagiarized poem composed by the infamous Jung In-Hun:

“Having bid farewell to your beauty, 90,000 ri away,

My mind is not at peace, so I pace by the well.

The well is like my mind… I, too, will weep.”

If you pay attention to the poems, you’ll notice that the scholar kept the same structure and ideas from the original. The common denominators are the farewell, the huge distance, the restless mind, the water, the darkness and the crying. Striking is that the scholar only changed the words, like for example “sweet lover” turned into a “beauty”. However, the choice of the new wording is quite telling about the former teacher.

“Having bid farewell to your beauty”

First, he selected “beauty” indicating his vanity. He has no feelings for the painter Baek Na-Kyum, hence he can’t call him “sweet lover”. Secondly, if he had kept this word, this would have contradicted his doctrine: Sodomy is something dirty and vulgar. Therefore he had to pick a different idiom. “Beauty” is associated to appearances and we know for sure that the scholar values image and impression a lot. That’s why he often smiles, although his smiles are fake. Finally, I judge beauty as something ephemeral underlining that his relationship with the low-born is temporal and even superficial. The “beauty” will wither, as time passes on hence the attention towards the low-born is short-lived . As the manhwaphiles can observe, the selection “beauty” outlines the scholar’s true thoughts: his superficiality, his vanity and his moral standards. He can’t have any deep feelings for the commoner. I would even say that he is incapable to love anyone else except himself.

90,000 ri away,

The distance of the separation has been diminished. From 10 million ri, it became 90.000 ri. This is quite interesting because of the number 9. I mean, the scholar could have changed the 10 million into 100.000 ri, yet the one metamorphosed into a 9 and this is no coincidence in my opinion. The number 9 contains a lot of symbolism as it is often in the bible. 9 is considered as a sacred number related to magic and completion. It is viewed as a symbol of wisdom, good leadership and heaven. I discovered that the ninth day of the Chinese New Year is the birthday of the Jade Emperor who is the supreme god worshiped by the Taoists. Even in Chinese, when the number nine is pronounced, it sounds like the word for “longevity, eternality”, hence it is perceived as an auspicious number. That’s why I come to the belief that Jung In-Hun considers the number nine as a representation of himself. He somehow associates himself to the Jade Emperor. As you can observe, 9 is full of positive associations, nonetheless the scholar didn’t write just 9, but 90.000 which is totally different in reality. While the scholar compares himself as the Jade Emperor, the zero should be judged as a representation of low-borns. This outlines his difference to other humans. The high number of zeros not only mirrors his distance to the painter but serves to outline Jung In-Hun’s special status and extraordinary personality. It was as if he was saying that he is unique. Now you understand my interpretation that the zero symbolizes the artist, he is nothing in the god’s eyes therefore the scholar chose such a number. As a conclusion, the 90.000 ri suggest that the scholar and the painter are far apart from each other in their status and personality. He is just a low-born hence they can’t be together. It reflects how he perceives himself and the artist. Nonetheless in my perspective, 90.000 destroys the holiness contained in the nine, it was as if the zeros would nullify the sanctity in the 9.

Furthermore, since the distance has been reduced, then this signifies that the supposed “longing” has diminished too. In fact, both persons were not far away from each other, the painter could have visited the teacher. My interpretation is that by giving such a poem, Jung In-Hun wasn’t biding farewell to Baek Na-Kyum, the scholar was asking the painter to keep his distance from him. There was nothing stopping the teacher from meeting the low-born, he hadn’t received any royal order, like in Wang Bang-Yeon’s case. Yet, he acted as if he had to separate himself from the painter. Consequently, I come to the conclusion the 90.000 ri unveil the scholar’s hypocrisy as well.

My mind is not at peace,

Then in Jung In-Hun’s verse, the “peace” replaces the place. His mind is not at peace, while in the original, Wang Bang-Yeon was indirectly referring to the king’s exile, he was worried due to the location. The child king Danjong had no real home now. The teacher couldn’t use the word “place” as at least he has his shabby dwelling. Striking is that this verse reveals the noble’s duplicity too. The painter never questioned why the teacher would feel restless, as he was the one sending him away. He never received any royal command, unlike the official and famous poet Wang Bang-Yeon.

so I pace by the well.

In the same verse, the scholar wrote that he was walking (pace), while the original author was seating. Two different moves and yet very telling again. The fact that the scholar is pacing indicates that he is moving on, unlike Wang Bang-Yeon who had some difficulties to move because of the separation and the future death. His position insinuates pain, he is somehow paralyzed due to his heartache contrasting so much to the low noble’s behavior. The teacher might say that his mind is not at peace, but in reality he is just describing himself strolling. He is not feeling any pain therefore he can move freely. He can still live well, while the other poet can’t move on in his life, he was so in pain that he was forced to seat (“I was seated”). What also caught my attention in this sonnet is the repetition of the personal pronoun “I”, while in the original we only have one in the second verse (“I was seated by the stream”. Furthermore, note that in the original poetry the “I” is really passive (“I was seated”), while Jung In-Hun is portrayed as a very active person (“I pace”, later “I too … will weep”) underlining his freedom. He can do whatever he wants, whereas Wang Bang-Yeon was forced to follow the banished king and even to offer the poison. He suffered to be put in such a dilemma which the poetry truly reflects. The famous author seems to be caught in a terrible situation and has no way out. He observes the stream, he can’t control it (“the water is going on its way”), which is the opposite with the scholar.

The well is like my mind…

The “stream” and “water” have been transformed into a well. While the former idioms are linked to nature, the well is a sign for civilization and artificiality as the man has intervened. Through this metaphor, I perceive an evidence of the coercive persuasion. Jung In-Hun transformed the painter into a well: “The well is … like my mind”. While the original poet was underlining his powerlessness, he couldn’t control the events, as a small person can’t control nature, Jung In-Hun is expressing the opposite. He is rejoicing that he has been able to change a human being. He is glorifying his action, however there is still some water symbolizing the painter’s unconscious. But the low-born is only a shadow of himself.

The form of the well also reflects the teacher’s narrow-mindedness, his worldview is so small so that he turned the painter into a small image of himself: narrow-minded and superficial too. That’s why we see Baek Na-Kyum calling Yoon Seungho as “a man consumed by lust”, he judges the man based on the rumors and his first impressions. As a conclusion, the teacher knew what he did to the artist, the latter became a second image of his teacher. This outlines the teacher’s arrogance and vanity, he liked himself so much that he felt the need to change Baek Na-Kyum into a different man. Imagine the scholar’s satisfaction, there is a second “Jung In-Hun” living somewhere. This illustrates his megalomania and egocentrism due to the repetition of the “I”. He is a creator, he achieved greatness by turning a talented painter into a shadow of himself, by transforming him into a nicer version of the scholar. Remember what I once wrote in one of my other analyses: Baek Na-Kyum’s lies were linked to Jung In-Hun, the latter had stained on the artist so that his purity had been soiled. I see a confirmation of my interpretation with this poem.

The reason why the teacher selected the well is quite simple, he wanted to have the darkness in his verse as in the original, the author mentioned the night. Wang Bang-Yeon couldn’t reveal his sadness to others, he had been trusted with a mission hence he had to follow the orders, although he liked the young king. A well is deep and dark. Even the form between the well (round) resembles to the moon. On the other hand, the scholar never thought that his choice would mirror his own mind. His darkness is not visible to the commoner’s eyes as it is deeply hidden behind his fake smiles. Let’s not forget that the teacher never showed his true gaze to the painter until the chapter 40. Besides, we should remember that I already associated Jung In-Hun to the day and the sun (a fake one), therefore he couldn’t choose the moon as a metaphor for himself. Usually, kings are associated to the sun (see Louis XIV, the sun king or the pharaon in Egypt) and not the moon.

I, too, will weep.

If you compare it to the original, you’ll detect two changes: the time and the way they cry. First, Wang Bang-Yeon is just weeping in his mind as he can’t let his emotions betray him. He’s an official and he has an order to follow, if he disobeyed, his family could suffer. Jung In-Hun erased the expression “in my mind” but replaced it with the future. I couldn’t restrain myself from laughing sarcastically because with this sentence, the scholar is actually showing that he is in fact not crying. He implies to the painter that his lack of tears is just momentary, he will cry later, while he knows that Baek Na-Kyum’s eyes will be full of tears, while departing from him. The “too” is referring to the painter. He knows what the departure means for the painter but he doesn’t care, the poem even fakes the scholar’s tears. He will weep, while in reality this will never happen, since for him Baek Na-Kyum is just a nobody, a low-born, he can’t be associated with him, a noble.

This doesn’t surprise us why Yoon Seungho couldn’t help laughing at this terrible plagiarism. The new version revealed a lot about the author: a man full of himself, egocentric, vain but also very delusional (suffering from megalomania). He glorifies his actions against the painter, he considers himself like a god. All the expressed emotions are fake (the weeping, the restless mind). No wonder, when the powerful noble visited him, he knew how to stroke the man’s ego, while making fun of him. Yet I have the impression that the main character didn’t perceive the whole dimension of the scholar’s perversity. From my perspective, the noble didn’t understand really what “the well is like my mind” signifies. When I read it for the first time without knowing the original, I felt that the well was just a representation of the scholar (“narrow-minded”), however after reading the original, I came to a different interpretation. I doubt that the aristocrat truly perceived the real message behind this verse, he just thought that the teacher was just rejoicing about his huge influence on the painter. He is still unaware of the brainwashing, the physical, mental and emotional abuse which Baek Na-Kyum was exposed to.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: Baek Na-Kyum’s confessions (part 3) (second version)

This is where you can read the manhwa. But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: 

It would be great if you could make some donations/sponsoring:  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

The reason why I chose this title in the first place was quite simple: I noticed many parallels between the “wedding night” (chapters 20/21) and the chapters 48/49 since we had two confessions. Hence my goal was initially to compare both scenes in order to analyse both protagonists’ behavior and explain the evolution. Funny is that while writing the first part, I realized that the details I noticed kept adding up so that at the end my focus was different. Then it happened again with the second part. First, I just wanted to reply to people’s comments concerning about the prostitution and ended up writing something else. Nonetheless I never lost the focus on the title. In the first two parts, the confessions were always in the center of the analysis. However, now, you know what I am going to do: I’ll examine the two scenes mentioned above, outline the common denominators and their differences.

In the first instance, I’ll list the common points in both scenes:

  1. The noble’s visit in the painter’s study
  2. Yoon Seungho acting as someone else
  3. The painter’s confession
  4. Their kisses
  5. Seungho’s surprised gaze
  6. The two hugs
  7. The painter’s tears
  8. The prostitution/brothel
  9. Baek Na-Kyum’s position on the floor
  10. Seungho’s rough actions
  11. Seungho’s comments
  12. The presence of Jung In-Hun as a shadow
  13. The painter’s emotional heartache
  14. The mixture of love and sex session

Because of the high number of similarities, there is no ambiguity that Byeonduck wrote the chapter 49 based on the chapters 20/21 because in my opinion, she wanted to illustrate the progression of the relationship between Yoon Seungho and Baek Na-Kyum and their problems, but also to outline Baek Na-Kyum’s transformation.

Let’s start with the first point. In the chapter 19/20, the noble visited the painter’s chamber in the hope, he could have sex with the artist, as he had witnessed the quarrel between Jung In-Hun and Baek Na-Kyum. He was in a good mood, because he saw an opportunity to finally get what he wanted for a long time. He imagined that due to the teacher’s rejection, the low-born would finally give up on his love so that he would turn to him. In other words, Yoon Seungho went there happy and thought, he might finally taste the painter. On the other hand, what he failed to recognize are the real motivation of this action and as such the true nature of his feelings for the artist. For me, he was already in love. I am well aware that many might disagree with this statement hence I’ll explain my points for this declaration.

First, I have often compared our intelligent protagonist to a dormant volcano because he was too passive, just looking out the window and smoking, if he hadn’t sex. For me, he had been living like a zombie, passive and disconnected to his own emotions, that’s why he had mood swings. As a conclusion, he just let his body take the lead. Now, you understand why both main leads are so compatible. Our main character allowed his body/soul express his emotions without reflecting on them. Hence he never tried to understand his feelings in the first place, too busy paying attention to his surroundings for a possible betrayal. Furthermore, unlike the painter, who often dreams (wet dreams) allowing him to perceive his unconscious, Yoon Seungho is suffering from insomnia hence his unconscious can never reveal his true repressed desires. Thirdly, he never saw his own gaze in a mirror, as he disliked his own image. Notice the absence of a mirror, each time he get dressed, while his butler is helping him getting dressed. The aristocrat saw himself as vulgar and filthy because of the sodomy that was imposed on him (see my essay about his past) and which he imposed on himself in order to hurt his family and deceive people. That’s why when he saw the first painting with him as model, he saw a new side of himself: sexy, attractive and confident.

In this scene he was surprised, pleased and even smiling. That’s the reason why at the pavilion, he could liberate himself from his hell created by the others’ gaze. (chapter 3) He finally came to love himself. However, he never realized that the gaze reflected his affection and fascination for the artist, as his eyes were directed at the creator and not at his sex partner Jihwa. (chapter 2) Moreover, the noble showed his true self, the moment he met Baek Na-Kyum for the first time. He was acting like a fan meeting his idol which is a sort of love. (chapter 1) He was smiling and happy, he was very genuine. All his actions in the beginning prove to me that he fell for the artist at first sight. His admiration for the painter’s work served as a good preparation and when he saw the painter’s face, he was already gone. Consequently I wrote the essay about Yoon Seungho’s weaknesses. He fell very hard for him, but never realized that, because he had lived for a long time without his heart. He had forgotten how to interpret emotions. This is the reason why he had a low EQ. And now, I can bring an evidence that this interpretation was correct. In the third season, the lord admits that his affection existed very early on. (chapter 91) Another reason why the lord couldn’t recognize his affection for Baek Na-Kyum was that the painter kept pushing him away. Thus he had no time to introspect himself and question his feelings. He was busy pondering how to convince the artist to work for him or to think about the image the commoner had about him: “a man consumed by lust” (chapter 5). Then from the beginning, he felt the need to touch him (chapter 1) (his talented hands, then his tears and eyes, his hair, etc.). (chapter 2) He also liked his ears, because he often whispered to the painter’s ears, although he first threatened him. The whispering is important, as it shows his need for closeness. This is not surprising why he whispered and licked his ears during the masturbation scene. Thus in the third season, we witness how the lord keep whispering to his lover in private (chapter 91) and in public (chapter 92) This truly exposes the protagonist’s true nature: he is delicate and sensitive.

The noble has never felt loved, since Jihwa never dared to confess. Besides observe how Seung-Won, the younger brother, and his father are only seeing the main lead as a tool or pawn for their own benefits. Therefore I come to conclusion that the seme couldn’t recognize love, as he has no experience with love. He had no idea about his true emotional state, only his butler Kim could perceive his love for the commoner. As he viewed Baek Na-Kyum’s talents and the creator’s publications could arouse emotions in him, it is important to realize that they had already connected through the paintings, both are very sensitive and emotional. All these are the reasons why I believe that Yoon Seungho already loved the painter right from the start. Let’s not forget that love exist under different forms (idol, child, husband, friend, sex partner… ) and the idea that true love is necessarily selfless is just an illusion. People can be selfish, therefore love can be selfish too. We have Jihwa as the best example. We can’t say that Jihwa doesn’t love his childhood friend, it is just that he chose his own interests first. Thereby it is definitely an unhealthy and superficial relationship. Besides, emotions never remain the same, they can evolve, deepen and become stronger or the reverse, love can turn into hatred and resent. Thus it is not surprising that the red-haired master’s love was full of reproaches, a mixture of love and resent. (chapter 57) Now, you can sense why I am writing this. The love Seungho had in the beginning has changed a lot, has deepened so much that he considers the painter as his wife, that he became monogamous and is even willing to get hurt, if it means that in the end, he can get closer to Baek Na-Kyum. His love for the low-born has transformed the man, (chapter 47) He is much more gentle and selfless compared to the way he behaved in the first season. I believe this long explication was necessary for the comparison.

Like I explained above, in the chapter 19/20 the aristocrat visited the painter’s chamber, because he hoped to have sex with him, unaware that he was already in love with the young man. In the chapter 49, his visit has another purpose. (chapter 48) He is actually upset, because Baek Na-Kyum still views him as a man consumed by lust and the former acts as a prostitute. the aristocrat did so many things for him (lowering himself in order to pleasure him, becoming monogamous, buying him expensive and warm clothes, treating him with respect, going to town with him etc.). But with the painter’s remark, it was as if the lord had done it, as he was expecting something in return!! Yes, the existence of a new deal, but contrary to the past, Yoon Seungho had never mentioned it explicitely. The reality was that Yoon Seungho had acted generously out of selflessness. He didn’t expect anything in return, maybe just his presence. Because of the silence between them, a misunderstanding occurred. Thus the lord felt so upset. It was, as if all his benevolence had never existed, as if the aristocrat had paid him like a whore.

What the noble couldn’t comprehend is the reason why he was deaf and blind to all his nice actions. Since the painter considered himself as a whore, he could only judge his sex partner as a man consumed by lust, because this is what a prostitute is supposed to do. Since the head-maid had convinced him that the noble cared for him (chapter 46), the painter felt somehow obliged to paint something… as you can see, he was trying to change the nature of their relationship. (chapter 47) He had been hired as a painter, but the lord had showed no real interest in the picture, it remained on the floor. Furthermore, he kept commenting about Baek Na-Kyum’s body (chapter 47) (his blushing and how thin he was). Thus the noble contributed to reinforce the painter’s prejudice. He was only interested in his body. Thus the artist jumped to the wrong conclusion: he was only a man consumed by lust. (chapter 48) Another misunderstanding was created. On the other hand the main lead got upset, for he realized that Baek Na-Kyum was perceiving him as man in a negative light and had denied the existence of his generosity. He realized that Baek Na-Kyum was acting like a prostitute. This explains why he got so mad. In reality, he just mixed the cause (the painter considering himself as a prostitute) with the consequence. Yet he noticed that Baek Na-Kyum was just an empty shell, hence he decided that he needed to take the bull by the horns. For me, the lord never went for sex in the first place, he just wanted to confirm his assumptions (Baek Na-Kyum acting as a whore). Thus he just ordered him to strip. You can sense the lord’s wound in his gaze. (chapter 48) His appearance is linked to his resolution to solve the issue. Since the painter didn’t understand the aristocrat’s pranks (chapter 48) and motivations, the latter had to change his strategy. This explicates why the lord isn’t rough right from the start. Sex was not the goal, but a tool in order to trigger reactions in the artist. He wanted to provoke fear and pain so that Baek Na-Kyum would drop his stuporous state. This was a new version of the scene in the bathroom: (chapter 26) He prefers the artist kicking than an empty shell. This is a huge difference: the value of sex has changed. Sex is no longer a goal (chapter 19/20), just a tool because the lord has learned to express his love through sex. He knows how to difference these two, as he learned it through the hard way, with the rape.

Striking is that in both scenes, the noble acted. During their wedding night, he took the role of Jung In-Hun and in the chapter 49, he is a client, a man consumed by lust who can do anything he wants and the prostitute has to follow the client’s wishes. (chapter 48) His true goal is to provoke a reaction in the artist. However, in the chapter 20, he hesitated before deciding to slip into the role, as he didn’t respond to the kiss immediately. (chapter 20) Yet, the manhwaphiles witness that Yoon Seungho’s mindset hasn’t changed one bit: the end justifies the means, deception can be used if it is necessary. What matters is to achieve his goal. However, during their first night, this role did him a disservice in a long term, because it helped the painter to find an excuse to deny the existence of their love session. From my point of view, the painter realized little by little that he was not facing his admired sir because in the following drawing the glasses are barely visible. (chapter 21) I interpret the way Byeonduck drew the glasses as if they are vanishing. That’s the reason why I state that the commoner was able to distinguish the disappearing of the glasses. The expensive wine had lowered the painter’s control body (conscious mind) so that the unconscious could finally be released. Here, the painter was expressing his inner deepest wish: making love to the person he was attracted to. Furthermore I consider the drawing above as a proof that the painter became aware of Yoon Seungho’s real presence. The artist could recognize Yoon Seungho by his lips and chin, let’s not forget that he is a detail-oriented painter who had both nobles as source of inspiration. Since the powerful lord was dishonest, then Baek Na-Kyum could also be insincere. The black in the pictures, corresponding to the artist’s eyelids, kept increasing symbolizing his denial of the reality. (chapter 21) It was, as if he was closing his eyes to his sex partner’s identity, choosing to follow his sexual desires which had been repressed for so long. Hence I come to the conclusion that during that night, the painter wasn’t entirely innocent and used the noble. Until the chapter 16, he had to fight against his sexual desires for Yoon Seungho. But he had to deny them and as time passed on, he was forced to hide them (see the masturbation in the chapter 9). So the scholar’s rejection and abandonment (chapter 19) not only pushed the painter to drink, but also to disregard the doctrine that had been imposed on him. I am not saying that Baek Na-Kyum had already realized the subterfuge right from the beginning. Yet it dawned on him as their sex session progressed. Once confronted in the pavilion, he could perfectly recall his love confession. Both main leads sinned during that night, hence they had to pay the price for their dishonesty: the rape and the rejection. But since in the study, the lord was selfless and even took the risk to jeopardize his relationship with the low-born, he got rewarded. The painter was finally accepting him as his sexual partner. (chapter 49) He was no longer a prostitute. This explicates why Kim had to intervene himself and reveal the incident in the library. (chapter 50) He needed to separate the couple. From my point of view, it is related to Deok-Jae’s insult. (chapter 47) Kim must have tattled on Deok-Jae to his master, faking that he was defending the painter’s best interests.

Striking is that in the chapter 49, there is still the presence of the scholar in the form of a flashback. Here again, the warmth and affection Yoon Seungho is exuding reminds the painter of the hug Jung In-Hun gave him. (chapter 29) Notice the parallels. In the chapter 49, Baek Na-Kyum is associating the gentle lord with the double-faced teacher, just like during their Wedding night. One more time, the scholar becomes a hindrance and is the reason why the painter refuses to open up to the main lead entirely. He won’t make the same mistake: sensing the warmth coming the main lead as something genuine and real. (chapter 49) He doesn’t want to get hurt and disappointed again. For the second time, Yoon Seungho “became” the teacher, however in that moment he is unaware of the painter’s thoughts. The other similarity is the closed eyes. Remember what I wrote about their first night, the painter was closing his eyelids to the reality, as he refused to admit what was happening. Here, when he hides his eyes, he remembers the scholar’s hug. By repeating the same action, he is making the same mistake: closing his eyes to the reality. He rejects the idea to perceive the lord’s hug and comfort as genuine. This outlines how it is now difficult for the artist to differentiate between seem and real. He has been terribly hurt. .

The painter’s heartache is palpable in both scenes. In the chapter 49, Baek Na-Kyum is keeping Yoon Seungho at a certain distance, as he doesn’t want to get hurt again. Therefore he confesses that their relationship is purely physical. (chapter 49)The lord will never be the object of his affection and admiration, since the painter’s pleasure will be in the center of their couple. (chapter 49) On the other hand, in the chapter 19, the agony was the cause for the painter to approach the noble and confess to him. He wanted closeness and love, the counterpart was the subject of his admiration and love.

chapter 19

Observe the other contrast: physical attraction-pleasure versus mental admiration-chaste love. The painter is doing the opposite from the past. He won’t love someone so purely, he will allow to become the object of physical pleasure and love. It becomes more obvious why the painter chose to make such a bold confession: he doesn’t want to make the same mistake, to fall for a double-faced man. The positive aspect is that the low-born is now respecting himself, he will allow his body to express his sexual desires and accept the pleasure during the intercourse. Nevertheless in both cases, the wound in the heart was the trigger for the artist to make a revelation. Yet their intention diverses. One is setting him free from the scholar’s doctrine, whereas the other revelation was just a subterfuge to release his frustrations, but to keep adhering to Jung In-Hun’s principles. However, the manhwalovers will detect that in both scenes, the painter is using Yoon Seungho. The latter is a tool in reality and in both scenes, the noble did accept this, since he accepted the kiss. (chapter 20) (chapter 49) Like the saying, the kiss sealed the deal.

Striking is that because the couple got separated, the painter was forced once again to question the purpose of his stay in the mansion. (chapter 51) If he was no longer his sexual partner, why didn’t the lord chase him away? Why was he allowed to stay in the mansion? Remember the head-maid’s words: (chapter 38) Maybe he is expecting him to paint for him. Thus he created a new erotic picture. From my point of view, the artist was slowly realizing that Yoon Seungho was indeed favoring him. (chapter 51) Unconsciously, the painter conclude the opposite of Deok-Jae. Under this new light, it becomes comprehensible why Baek Na-Kyum refused to leave the mansion. (chapter 53) He knew that this was not the main lead’s wish. And now, you comprehend why the artist didn’t paint so much in the second season. It was related to the lord’s interests.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: Baek Na-Kyum’s confessions (part 2) (second version)

This is where you can read the manhwa. But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: 

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In the first part, I demonstrated that the night in the episode 49 marked a pivotal moment in the painter’s life, for he was abandoning Jung In-Hun’s doctrines and cutting ties with the scholar for good. First, he had asked the valet Kim to get rid of the painting about Jung In-Hun’s inauguration, which showed that he was taking his distance from his former admired sir. (chapter 44) He saw it as a confirmation that the teacher had truly abandoned him, for he never bid goodbye to him. However, now I believe that Kim never informed the artist of the scholar’s departure. (chapter 44) He just delivered it in delay so that the artist would feel even worse than before. Without the farewell, he could only come to the conclusion that he had been truly abandoned by Jung In-Hun. Yes, the artist didn’t react like the butler had expected. He remained in the mansion despite the gate had been left wide opened. By getting rid of the painting, he was cutting ties with the learned sir. Yet this was a baby step compared to the scene in the chapter 49. Here, he has finally become the master of his own life and fate therefore he’ll live his life the way he wants. He is accepting his homosexuality and as such his sensuality. He views sex as a part of his life. He rejects abstinence and doesn’t view sex as an addiction. (chapter 49)

Furthermore I explained that he became a full-pledged person again, as he regained his own identity. We could even say that he had lost his identity as a painter. In the first chapter, the aristocrat was looking for the painter hiding behind a pseudonym and not for Baek Na-Kyum himself. Their first wedding night changed everything: from that moment on, Yoon Seungho wanted the man Baek Na-Kyum and not the painter- Hence the creation of new drawings became obsolete. For Yoon Seungho, only an image about their first night mattered, as he perceived as a validation of their marriage. But back then he was not realizing the signification of this wish. Yet as you can imagine, it is impossible to separate Baek Na-Kyum from his true vocation. That’s a part of his identity. So when he explained his reason for the “why”, he revealed many things. First, he accepted his homosexuality and his physical attraction to Yoon Seungho and indirectly that he was a painter, although he didn’t verbalize it loudy. Many readers were upset because they thought that Baek Na-Kyum was still acting as a prostitute at the end. The reason for their interpretation was the following picture: The lord’s thoughts were reflecting the artist’s mind-set. Yet, observe that in this scene, the real “prostitute” was more the lord. Why? It is because the painter had stipulated that it was the noble’s duty to lick him and as such make the painter feel good. Yet, there was a slight difference. A prostitute’s duty is to focus on the client’s pleasure and not on her/his own sensuality. Yet, observe that the noble’s thoughts are revealing that he will make sure that he enjoys their sex/love session too. Since he said that he would let his body lead him and his life, they thought that he was selling his body. But no, here he was saying that he would also pay attention to his own needs too. In other words, he was becoming a libertine, exactly like the painter. Both chose to live as libertines during that night. People would call it: a relationship with no string attached. However, what these readers failed to realize (in my perspective) is that Yoon Seungho and Baek Na-Kyum never mentioned any remuneration in exchange for sex, while it was different in the past (chapter 46). In fact, in this image, he was acknowledging his other part: he was a painter.

I regard this expression “my body take the lead” from Yoon Seungho as a reflection of the artist’s true and original belief, before he was brainwashed and almost destroyed by the teacher. It is strongly connected to his painting. Remember that when he was a child, he painted an erotic image of sodomy. (chapter 1) I perceive this image as an indication that the artist had dreamed about this love session. Note that all dreams about the painter were linked to sex and love. For me, this picture is a proof that the brothel had nothing to do with it. He was drawing outside and he had no model for such a scene right in front of him. In other words, the child allowed his body (his arm, hand, eye and brain) to take the lead, hence he was able to create such a sensual picture. Even Yoon Seungho wondered how a virgin could produce such beautiful drawings. (chapter 20) I have always pointed out that Baek Na-Kyum was a homosexual right from the start, which he accepted as something natural. He was also encouraged by his noonas. (chapter 87) He saw no crime in it, rather as something lovely and beautiful, hence he never felt the need to hide it. Notice that in this picture, he was creating such a lewd painting (chapter 1) where people can behold it, he feels neither shame nor embarrassment. He had no idea that he was violating social norms. That’s why I came to the following interpretation, when the painter said (chapter 49), he was rediscovering his old belief, he wouldn’t feel flustered if someone calls him a sodomite or whore due to his paintings. Notice that he didn’t blush, when he heard Min’s comment or when he saw the sudden kiss. (chapter 49) Now, you understand why I was really happy with this chapter. Baek Na-Kyum was slowly returning to the person he was in the past before the teacher and his noona Heena transformed him into a shadow of himself. He was accepting every part of himself: his sexual desires, his sexual orientation and more importantly his work as painter.

The commoner was already an empty shell, when he met the main lead for the first time. Let’s not forget that he was living as a drunk, since he had vowed to never paint again. By forcing him to drop painting, Jung In-Hun had already ruined the low-born’s life, as painting was a part of his soul. We could say that the low-born was already withering. However, back then Yoon Seungho was not interested in why the painter suddenly dropped his true vocation and why he lied to him too. The lord was more obsessed with the erotic drawings. The cause for this long explication is necessary as with this interpretation, I am predicting what is going to happen in the future.

This signifies that after this episode, Baek Na-Kyum’s talents will return with full forces and Yoon Seungho will even be his source of inspiration. The lord will become the artist’s new muse.

In order to understand this, we need to go back to the chapter 46. There, the beholder could sense that Baek Na-Kyum had lost his passion for painting despite his claim.

His head was down, his cheeks were red as if he was feeling ashamed. Furthermore there was no real passion in his eyes, when he conceded it to the head-maid. His confession about liking to paint was indeed meek. The lord’s observation made later was correct, although he never got to hear this revelation. Here, this drawing illustrated the frozen state of the painter, the loss of his soul and talent.

The artist was only able to produce a new painting because initially he masturbated. Striking is that this scene was a clue about the artist’s original belief. Here again, he allowed his body to take the lead, but it was once again behind closed doors and nobody was present. He was hiding again, indicating that he still wouldn’t admit his own sexual desires and his homosexuality. Until now, he had only asked for comfort and love from his counterpart (chapter 20/21 and 41/42). Remember that in the chapter 41, he just asked to be hold and as such, he only wanted to be embraced initially. However, due to his inexperience and pain, he confused love with sex. As you can see, the belief “the body taking the lead” had resurfaced indicating that little by little, the painter was changing. More importantly is that he hadn’t been triggered by an immediate sex session, unlike in the past (chapter 8/9). For the first time, Baek Na-Kyum’s sexual desires had come back to life. Unlike in the past, he didn’t judge the cum as something dirty and filthy. Moreover, Baek Na-Kyum could only ejaculate due to Yoon Seungho’s warmth and love. He had these flashbacks where the lord made love to him.

Thanks to these two elements (the body taking the lead and Yoon Seungho), he could paint again, however he could just create an unfinished and unrefined drawing because of the image he had of himself: a prostitute. His talents were diminished, even the lord’s influence couldn’t remove the false reflection about his identity caused by the scholar’s punishment. In this scene, we had another confession: Baek Na-Kyum was no longer hating the noble indicating that in the end, he had forgiven him for his wrongdoings:

  1. The brutality the painter was exposed to due to the noble (chapter 1, 11, 25, 26, 27, 28, 30, 31-33)
  2. The rape
  3. The forced fellatio
  4. The sex marathon which made him really sick to the point that he could have died

Sure, he was only talking to himself but in the retrospective, I interpret this scene as the prelude of Baek Na-Kyum’s real transformation. By forgiving the protagonist, the painter has already started valuing the lord differently. The chapter 46 revealed the growing influence of the noble in the painter’s mind and body. He had already started being an inspiration for the artist’s new work. One might argue that this had already happened in the past, yet I have a different perception. In the first part of the first season, Yoon Seungho was forcing the commoner to paint, the latter had no choice to have the master as his model. Then Yoon Seungho was hopelessly waiting for the drawing of their “wedding night” which never occurred. The painter chose to ignore this night and to repress his memories. Then in the chapter 41, he painted so many images in order to ease his pain. That’s why his paintings lacked passion and warmth. He was working like a robot. As a conclusion, until the chapter 46, Baek Na-Kyum never considered his “husband” (I am well aware this is not how Baek Na-Kyum perceives Seungho) as his muse. He just used him as his model as he had been forced to or he wanted to smooth his agony.

In the past, I used to belive that Jung In-Hun was Baek Na-Kyum’s first love and he became his muse. However, later on I realized that the artist started painting for a different reason: survival. (chapter 1) He had no choice. He had to paint erotic paintings. Thus I conclude that the artist couldn’t fully show his true talent and express his passion for painting totally. Yet, his publications were still beautiful, since the lord’s heart and gaze were moved. On the other hand, the noona Heena sent her adopted son to Jung In-Hun, because she feared for her brother. (chapter 46) However, I believe that she was acting on the learned sir’s request. She justified her decision to send him away to the teacher, because she knew that by the learned sir’s side, the artist would never outlive his homosexuality. She imagined that the low noble was her son’s source of inspiration (chapter 46), whereas the artist had other motivation. Therefore she thought that it was for the best, if he was by the teacher’s side. I assume that the teacher wished the low-born by his side for two reasons: money and the prospect to benefit from Baek Na-Kyum’s talent. It is very likely that out of greed, the learned sir desired to sell the painter’s works for his own benefit. But for the artist had been requested to paint these erotic paintings for survival, I come to the conclusion that he had been asked twice to paint erotic pictures. The first time, it was for a precise client, and the second time it got sold among the commoners, which explains why the tailor knew about the identity of the painter. (chapter 64) There’s no ambiguity that the scholar’s prospect got ruined, hence he unleashed his jealousy and resent onto the painter, until the man vowed to follow the scholar’s doctrine. The poor man could never tell Heena about the physical and mental abuse, as he had already been abandoned. (chapter 34) He had to keep his promise to never return to the kisaeng house. I believe that the kisaeng must have used this incident (chapter 94) to send her brother away and exactly like in chapter 44, she made sure that the noonas wouldn’t be informed. That way, she could deceive her colleagues. It had been the painter’s choice. (chapter 93) For the man was his guardian, the low-born had to accept his situation. But since he was just a low-born, I doubt that he could sleep in the same room than the scholar. From my point of view, he had to sleep outside on the wooden planks, the older version of this scene. (chapter 1) Therefore it is not surprising why he didn’t leave the mansion in the end and why he said this to the head-maid. (chapter 46) He could live a normal life again. Besides, since the coercive persuasion, Baek Na-Kyum had been unable to paint, not just because of the vow in my opinion. Jung In-Hun had trained his body and mind to disregard his impulses. His body was not allowed to take the lead, hence he had to drink in order to numb his soul. (chapter 75) Painting was his passion, and the childhood drawings kept by the noonas clearly indicate that he didn’t paint erotic paintings, since he was a child. (chapter 94) He painted animals and as such nature.

This changes the moment the painter meets the protagonist Yoon Seungho. The noble is able to trigger his unconscious, therefore he is able to create a terrific painting, (chapter 2) although he hadn’t created anything for almost one year. From my point of view, this is the return of the painter’s passion. That’s why he paints under trance. Even the master was expecting that the painter wouldn’t be able to produce such a good work right from the start. However, he was proven wrong. Now, I am wondering if this gesture wasn’t the light igniting his repressed sexual desires and as such his dormant talents: (chapter 1) Sure, the painter’s mind was reminding him that this is filthy and vulgar, yet I sense that this affected the artist’s unconscious a lot. All the wet dreams Baek Na-Kyum had, the seme’s phallus played a huge part. Thus we have such drawings in the fantasies, where the protagonist’s sex is in the center of the painter’s imagination: (chapter 2) (chapter 6) (chapter 8)

Since in the chapter 49 he confesses to his “husband” that his body is affected by him, (chapter 49), it becomes obvious what this confession means. In front of his partner, the artist is declaring that he will use their sex session as a source for his creativity. On the surface, it looked like the painter was using the noble as his sex toy, since the latter is the one kissing, licking him so that he feels good. Hence the latter got upset while hearing this admission. However, the real message is that his interaction with Yoon Seungho will help him to create new paintings. As you can sense, Yoon Seungho is getting closer to his ultimate goal each time. From my point of view, this was only a matter of time, until the painter realized his true feelings for the noble. It would have come much sooner, if people like Kim, Jihwa and Heena hadn’t meddled in his life. From my point of view, when Yoon Seungho was thinking this , the painter had the exact same mind-set. Since he would follow where his body would lead him, then this meant that he would follow his heart. Thus we have this confession in the kisaeng house: (chapter 94) The painter followed his heart. Observe that the numbers have been switched: 49-94. The mirror effect and in the study we had a reflection too. Both main leads reflected each other’s minds: acceptance of a sexual relationship, but rejection at the same time, no strings attached.

The heart is a part of a body and soul. This means that the lord has already become the painter’s source of inspiration. (chapter 94) (chapter 94) So the lord is now associated to the moon and as such to nature. Thus I conclude that the noble will discover the painter’s true talent. From my point of view, his new paintings won’t be just erotic pictures about himself with the uke, but also about nature (animals, plants). The diversity of the topics will increase, yet I am sensing that the pictures will definitely reflect the painter’s love and admiration for the seme. (chapter 92) Yes, it is very likely that Baek Na-Kyum decides to recreate this scene, because we could see that Baek Na-Kyum’s heart and soul was moved. A new version of this scene: (chapter 36) Besides, the painter’s works will reveal what the protagonists feel and think about each other: love.

But let’s return our attention to episode 49. In my opinion, the last thoughts in this chapter illustrate the protagonists’ innocence. Both were deceiving themselves in order to protect themselves from pain. These confessions reflected their similar philosophy: “to let my body take the lead” and as such the acknowledgement of sexual pleasure.

First, the ” I feel good” symbolizes the climax of his disclosure. Note that “I” and the body “feel good” are what matter to the painter. The noble comprehends the low-born’s philosophy, hence he is annoyed. (chapter 49) But the kiss and the caress catch the powerful noble by surprise. These gestures stop him from complaining, because he is surprised by the painter’s initiative. Simultaneously, the kiss reminds him of the first Wedding night. This time, the artist is kissing him and not the scholar, so it is an improvement. He is recognized as his sexual partner.

Striking is that we see the lord making love to Baek Na-Kyum, for he is hugging the painter’s body . He is even protecting his head. He has never been so close to him before. Despite the hurt, the noble accepts his new situation, unaware that he has come one step closer to his goal. The tragedy was Yoon Seungho had no idea about his real wish. Unconsciously, he desired to be loved by Baek Na-Kyum. This explicates why it took so long for the protagonists to become a real couple. The lord had not recognized the existence of his affection. He thought, he was motivated by his mind, which is here reflected in the study. The reality was that he was motivated by his wounded heart. However, deep down he was lowering his expectations, for he had been hurt.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: Baek Na-Kyum’s confessions (part 1) – third version

This is where you can read the manhwa. But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: 

It would be great if you could make some donations/sponsoring:  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

After reading the chapter 49, I was happy to have released my last analysis “Yoon Seungho’s long fight and struggle” (part 1/2) just before the new chapter for two reasons. First, my observations and even my predictions were point on. Secondly, it was indeed important to list the laws set by Jung In-Hun because without them, the readers can’t understand the chapter 49 and perceive the huge progression Baek Na-Kyum is making here. Therefore I am mentioning the regulations one more time as I will refer to them later in this essay:

  1. The artist can’t be associated to sodomy.
  2. He is not allowed to paint erotic paintings.
  3. He can’t admit to be a homosexual.
  4. He isn’t permitted to have sex with a man.
  5. He is not allowed to concede that he feels pleasure, when he has an intercourse with a man.
  6. He is not authorized to question the teacher’s words and actions. He has to obey him blindly.
  7. He is not permitted to fall in love with another man.

Besides, the chapter 49 confirms that Yoon Seungho’s words and actions in the chapter 48 were motivated by his desire to provoke a reaction in the painter. He wanted him to drop his stuporous state. He had no own will, he was just determined to please the master, whom he still considered as a man driven by his libido. (chapter 48) The noble had noticed that the artist was blind and deaf hence he needed to use the low-born’s body to awake his senses and arouse the painter’s instincts. That’s why he licked the painter’s ears while whispering, (chapter 49) or pinched his nipples. At no moment, the protagonist let his emotions (anger, frustration) take control over the situation. That’s why we definitely can’t say that we have another rape in the chamber. First, since “Baek Na-Kyum is a whore” (in the painter’s mind), then the lord can do anything he wants. The noble’s reasoning is quite simple: “Because the commoner is acting, then I should act too”. Secondly, the noble is trying to discover the root of the problem (chapter 49), while at the pavilion, he thought that if he forced himself on the painter, he would achieve what he wanted: being recognized as the painter’s partner and husband. From my point of view, we can observe the master of deception in action in this scene. He is using his body as a tool, just like in the past, when he had a sex session with the nobles. However, his goal concerning Baek Na-Kyum is different. This is not to defeat his counterpart. Inflicting pain is just his way to get through the painter’s mind and body. In fact, his goal hasn’t changed at all since the chapter 23. He is still hoping to be loved by the painter but right now, his immediate purpose is to discover the truth. Pay attention to the seme’s face in the illustration above. He knows that he is inflicting pain on the painter hence he is hurt as well. The manhwalovers can perceive the noble’s true face. That’s why I called Seungho as the master of deception. In the image above, the artist can’t see the noble’s true emotions and personality. Our seme feels, he has no other option left as the painter is living like a robot, or better said, a robot prostitute. This contrasts so much to the scene at the pavilion where his selfish desires and negative emotions led him to wound the man. From my perspective, Yoon Seungho is actually selfless here, he is doing it for the artist’s sake. He prefers being hated than getting unnoticed or objectized as an image: Seungho is a man consumed by lust. As a conclusion, Seungho is taking the bull by the horns, willing to get hurt and even hated in the process. The painter needs to answer his question:

Why did he change so much to the point that Baek Na-Kyum was just a shadow of himself?

Let’s not forget that the courageous aristocrat is well aware that Jung In-Hun is behind this but he doesn’t know how. (chapter 48) Did the scholar request the painter to sleep with him in order to discover a weakness? Sure, Baek Na-Kyum said that he was doing it on his own free will, yet his reactions led the lord think otherwise hence he couldn’t lower his guard entirely.

Yoon Seungho is taking some risk here because the painter could resent him for his rough manners. First, he points out the contradiction between his past comment and his actual behavior. He acted as a prostitute, then he should keep acting as such. (chapter 49) He triggers him with his comments and actions, yet he is determined to make sure that once the artist reaches the breaking point, he will stop. That’s why the noble doesn’t listen to the painter’s complaints(chapter 49), until Baek Na-Kyum yells to his lover and starts crying for real. Notice that in the drawing above, the artist expresses his own thoughts and desires for the first time. What caught my attention is that in this drawing, Baek Na-Kyum is speaking without a pause, unlike in the past where he is not even using the pronoun “I” or “me”: (chapter 45). My interpretation is that in that situation, the painter was only perceiving himself as an object. Sure, right after he admitted that he was feeling something. (chapter 45) But the emotions were quite superficial, he had great difficulties to externalize these. While the pronoun “I” was only used for the first time for a short moment, there was still the presence of an object in his confession. In other words, he was still denying the existence of two naked bodies till the chapter 49. Either he was an object (“it feels nice”) or the lord was one (“I like it”). Hence the lord’s remark was so point on: (chapter 48) First, he had misunderstood the confession, yet at some point he perceived his “confessions” for its real value: the presence of an object in his expressions. (chapter 49) Nonetheless, in this scene the painter keeps speaking about himself as he uses the pronoun “I” 9 times, until he is hugged.

The expression “I don’t like it” said in one sentence without any break outlines the effect of the master’s actions. Once cornered, Baek Na-Kyum is forced to externalize his own emotions and thoughts.

(chapter 49)

He has a body, he believes that his body has reached its limits. So in the image above, he is recognizing the existence of his body. First, we have the admission that he was a person on his own: “I don’t like it”. I couldn’t help myself connecting these words to the quote “I think, therefore I am”, a famous principle developed by the French Philosopher Descartes. Now he is conceding that he has a body on his own: “I can’t”. I see a progression here following the theory developed by Descartes, but the other way around. The French Philosopher used the body as a proof to doubt the existence of the human being/conscious. He used the ghost pain as proof that the body couldn’t be perceived as a proof of the existence. [a ghost pain: an amputated person feels some pain in the missing part] However, the French scientist came to the belief that the existence of the thought is a validation of the existence of the self, the “I” (“Cogito ergo sum”, the expression in Latin).

Consequently, with his words, the artist is slowly validating his own existence: first he has his own thoughts (“I don’t like it”), then he recognizes the presence of his body (“I can’t”). He is a person on his own, neither an object nor a prostitute. He has his own identity.

While during all this time, Yoon Seungho is not listening to the painter’s complains, he keeps reminding the painter that he is doing it for one reason: WHY? Striking is the difference in the writing in the speech bubbles reflecting the tone of the voice.

Chapter 49

Notice the progression: Baek Na-Kyum’s voice is getting louder. From “I don’t like it” and “I can’t” to “NO, PLEASE…… I’M GONNA-“, the readers can sense the raising of the painter’s voice to a scream. His yelling announces his outburst. (chapter 49)

(chapter 49)

Due to the picture above, you might argue that the sentences are broken again but this time, I interpret it differently. His emotions are the cause for the broken sentences. He can’t speak properly because of the explosion of his genuine feelings. His mind and heart are no longer frozen. Furthermore, he is criticizing the noble but the latter doesn’t mind it, as it was his real goal all this time. He wanted the painter to reconnect with his body and rediscover his true emotions and thoughts.

Another difference is his gesture. He is closing his eyes while crying, turning his face away from Yoon Seungho and even hiding his tears with his arm, which he never did in the past. Compare the drawing above with the following. (chapter 42)

In the chapter 42, he was looking at the lord with his eyes wide open. There is no arm in the way either. The contrast is really telling, displaying that despite the presence of Yoon Seungho, the artist was not able to perceive the noble’s proximity. This confirms my earlier statement: the painter was blind and deaf and it started in the chapter 42 hence he begged the lord to push harder and deeper as he felt nothing at all. In the retrospective, we could say that we were witnessing Baek Na-Kyum’s slow withering in the chapter 42, or more precisely, the beginning of his winter rigidity (like the frogs). However, I would like to outline that the embrace in the chapter 42 did move the artist’s heart and didn’t get unnoticed. He felt the warmth and love hence he was able to remember his hug and kiss, when he was masturbating. (chapter 42)

But now let’s go back to this scene:

Chapter 49

He is doing the exact opposite of the way he behaved in the chapter 42. My explication for the huge contrast is the following. First, Baek Na-Kyum is finally sensing the lord’s presence. All his senses are back, fully awaken. Besides, he is revealing himself. All his emotions and thoughts are real and genuine. But since he is so vulnerable, he is scared to show his true personality. Furthermore, he must have remembered the lord’s words (from the chapter 42), the master could complain again. (chapter 49) However, nothing happens. Yoon Seungho allows the artist to cry and to voice his thoughts for it was exactly what the lord was aiming at. For the first time, he did succeed. This is the reason why I choose this drawing as the illustration for this essay. The lord’s acting did ignite a fire in Baek Na-Kyum. The master destroyed the image Baek Na-Kyum had about himself, being a prostitute, because he expressed his own emotions and thoughts. Therefore I state that Yoon Seungho has liberated the painter from his cage or better said, his frozen state. With his voice and gestures, Baek Na-Kyum is proving that he is existing, he’s a full-fledged person with feelings and thoughts. Simultaneously, he is confessing that he is existing.

This marks a pivotal moment in the painter’s life because so far, he was living under the teacher’s doctrine. He had been submitted to an indoctrination, which is often utilized by dictators. You know that under dictatorships, people are not perceived as persons on their own. The citizens living under a dictator are either numbers or enemies or pawns or objects, they are never recognized as human beings. Due to Jung In-Hun’s coercive persuasion, a method employed in dictatorships, and his doctrine, Baek Na-Kyum was never able to live his life like he wanted. The scholar robbed him all his human rights. The painter had to follow the rules that’s why he got punished by the scholar in the chapter 40. He was questioning the scholar’s actions and power. Hence my claim that Baek Na-Kyum’s love for the scholar was never a real “love” is here confirmed. I’ll go as far as to compare Baek Na-Kyum’s love to a “ruler’s cult” which is another feature for a dictatorship.

Consequently, I compare Jung In-Hun to a dictator on a small scale. Until now, he could only impress the commoners (the head gisaeng, Baek Na-Kyum, the craftsman) but if he gets a high position, he will impose his doctrines on the officials and the nobles, there is no doubt about it. And just like any dictator, Jung In-Hun is delusional and resents people, even his followers. As you know, I am a History teacher in Germany, that’s why I am using Hitler as example. Hitler said that if the Aryans (pure-blooded Germans) were not able to win, then they should all die. This shows that this megalomaniac man never liked Germans in reality. All his doctrine was based on hatred, jealousy and cold-hearted reasoning: “Since The Jews are responsible for our misery and they are just parasites, then they should just be eliminated. They are no human beings, just bugs”. You might now wonder if I’m not drifting away from the topic. I am describing Hitler and the IIIrd. Reich for one reason. Jung In-Hun’s ideology and mentality is really similar to the nazi ideology. For Jung In-Hun, homosexuals are parasites, they are just prostitutes hence they can be destroyed. He has always hated Baek Na-Kyum because the latter was popular among nobles, while he was not noticed with his poetry. Hitler tried to become recognized as a painter but failed, hence he resented more the painters and Jews. The painting about Jung In-Hun’s inauguration could be compared to a propaganda poster. (chapter 41) In other words, I see a lot of common points between Jung In-Hun and modern dictators like Hitler, Stalin and Mussolini. We have the following common denominators:

  1. A doctrine based on hatred: here sodomy is rejected and should be erased.
  2. That’s why we have a censorship. Jung In-Hun stopped the publications of erotic paintings. Under Hitler, there was no freedom of expression and press. Jung In-Hun even imposed his language on the painter, it was the same under Hitler’s ruling.
  3. The use of coercive persuasion: Hitler used school and youth organizations like “Hitler Jugend” (Hitler youth) to indoctrinate his future followers and soldiers. Striking is that the teacher did something similar, he used the school to lure the painter and his students. Remember the girl with the leaf. Furthermore, Hitler wanted the students to become “predators” and to limit the students’ abilities. In reality, for him, it would have been the best, if the children were just able to read the orders and that was it.
  4. In a dictatorship, there is a harsh punishment if the subject questions the ruler. Jung In-Hun punished the painter in the chapter 40, he made sure that Baek Na-Kyum would never voice his own thoughts and feelings. By turning him into a prostitute, he was somehow declared an enemy, someone who derogates from his regulations.
  5. We have a “ruler’s cult” and a propaganda poster with the painter’s image. Notice that in this drawing, the scholar was put on a pedestal and all the people around him were so small and little. They had no face. It was as if Jung In-Hun was “the ultimate instance”, the new/fake sun and people have to bow down to him.

Now, you understand why I am comparing Jung In-Hun to Hitler. The moment Baek Na-Kyum claims that he is a full-pledged person, he is actually abandoning the scholar’s doctrine. He is no longer a subject, a prostitute because he is no longer following the scholar’s laws. In other words, the coercive persuasion is no longer effective. Now, he is using his own mind for real. We could already catch some glimpses of the painter’s critical thinking in the second season, like when he wondered about the cause of his ejaculation and why he kept thinking about Yoon Seungho. He is no longer living under the shadow of the false sun. This explains why Baek Na-Kyum can’t help thinking about the scholar’s hug, when he is embraced by Yoon Seungho. (chapter 49) (chapter 29) While some people judged it as something negative, I viewed it in a positive way. First, this flashback shows that the painter is thinking on his own. Secondly, he gets aware that the teacher’s hug was fake. He realizes the contradiction between the hug and the words said in the chapter 40: “He was born to be a prostitute”. “If so, why did he hug me back then?” From that thought, Baek Na-Kyum comes to the right conclusion. Jung In-Hun was not sincere and he is finally able to perceive the true nature of his learned sir: a hypocrite, though he doesn’t voice it. This is definitely relevant, this illustrates that Baek Na-Kyum is abandoning the scholar’s doctrine for real. He questions the teacher’s power and control and criticizes him for his dishonesty and duplicity. Since I stated that the rule 6 was central, this means that all the rules become obsolete as well. Baek Na-Kyum decides to live like he wants. And unaware of this, the lord makes the same decision. (chapter 49)

Chapter 49

During that night, both come to the same conclusion, hence they are getting closer to each other. Baek Na-Kyum is taking his fate into his own hand and doesn’t want to rely on anyone else, even Yoon Seungho. Yoon Seungho’s fans might get upset as our main character is not getting what he wants. However, we shouldn’t forget three aspects:

  1. Yoon Seungho was willing to risk his relationship in the first place, when he provoked the painter. He had already envisaged to be hated but notice that this is not what is happening. Baek Na-Kyum is not rejecting the noble at all.
Chapter 49

2. In order to love the noble, the painter needs to love himself first. Since he has just started living as a real human being, it is impossible to expect that he can reciprocate the noble’s feelings. But in my opinion, he is already in love with the aristocrat but he has no idea about it. [I’ll explain it further in the second part]

3. With his confession, he is admitting that he is a homosexual and that he tried to repress his sexual desires in the past (“despite myself”) but won’t do that any longer. This means that he will paint again. He won’t repress his unconscious, but will allow it to express itself in his paintings. In other words, his real passion and talents will come back with full power. The future drawings won’t be like the last one, an unrefined or unfinished painting full of mistakes, which was a proof of his frozen state and lack of passion. This confession reveals the determination and the return of the painter’s confidence.

As for Yoon Seungho, the latter chooses to live the way he desires. On the other side, he is lowering his expectations. Simultaneously, he is also trying to live his life the way he desires. This signifies that he is no longer taking people’s opinion into consideration. This is important, for Now, you might ask, where I see a return of the artist’s confidence. Pay attention to the pronouns used in the confession. He is using in each sentence “Me, my, myself and finally I”, while he wasn’t able to speak about himself in the past. With the repetition of these pronouns, he shows that he is existing, but unlike in the confession from the chapter 20, he shows no love for the lord. If someone has to show his adoration and affection for the other, then it should be the lord and not the painter. That’s why the lord is the subject in the confession and not the object (“You press, You bite, You kiss, …”). The artist loved someone in the past (“I have always respected and admired you”, “I pin for you”), yet the result was that he got deceived and betrayed. Imagine, he could have never confessed in reality because for the low aristocrat, he was just a nobody. Here, the artist is definitely taking the lead in his speech and in his action. But he has a reason to do so. He is protecting himself from another betrayal, a possible heartbreak. (chapter 49) He has suffered a lot and he fears to mistake the warmth from the protagonist as something real, whereas it could be fake too. That’s why Yoon Seungho can’t be pleased with this confession. He has to hear that he won’t be loved, that their relationship is only physical, he can’t expect more. Therefore Seungho gets upset and is about to complain, when he hears “I feel good”. Remember that I had explained that their position had been switched from the chapter 36 on. The noble had lowered himself and become a servant in order to get accepted. Now, with this confession, the painter is accepting the noble as his servant and he will be the master. No wonder that the seme is bothered first because this was not his true goal in reality. But when the commoner kisses the lord, Yoon Seungho’s negative feelings disappear. (chapter 49) Why? The lord senses that there are feelings here. For the second time, Baek Na-Kyum takes the initiative. This time, the confession, the caress and the kiss are directed at the noble. Besides, the artist shows that despite their new defined relationship, Baek Na-Kyum is genuine. This is not a real master-servant relationship, as there is some warmth in his gestures despite his words.

So when the lord is talking to himself, the painter has the exact same thoughts. That’s why the readers, including myself, were so confused. Who was thinking like that? Yoon Seungho or Baek Na-Kyum? Here, it was the noble, yet the painter had the same mind-set. Don’t forget that the painter serves as a mirror in the story, so he had the same thoughts. This explicates why he admitted his sensuality in front of his lover. And the noble understood the message. We should remember that Yoon Seungho is really perceptive (see the chapter 47) and can read the artist pretty well. There is no deception in reality. The painter is just lying to himself that he has no feelings for Yoon Seungho, yet the kiss and the stroke did contradict his words. Yoon Seungho sensed it. That’s the reason why Baek Na-Kyum is no longer acting as a prostitute. We have to imagine that if the lord came to abandon him, then in his mind, he won’t be affected. He will do what he wants in his life. He will paint again because his body and his talents are strongly connected to each other. (chapter 49)

As a final comment, I’ll explain the lord’s following comment (chapter 49) which is strongly connected to Baek Na-Kyum’s confessions. Let me summarize all his confessions:

  1. He’s a person of his own which means that he won’t follow any order or ruling. Since his words imply that he is a master, this signifies that he doesn’t belong to anyone.
  2. He is admitting his homosexuality for good.
  3. He is conceding that he has always felt attracted to the noble.
  4. He is acknowledging that he feels pleasure, when they have sex together.
  5. He is recognizing Seungho as his partner.
  6. He won’t feel shame any longer. “When you lick my body… I also feel good” which is similar to “I’ve decided let my body take the lead”. Why should he feel embarrassed and blush? He will just follow his physical desires. (chapter 39) So he won’t react like in the past, hide his special relationship with the lord. He won’t show any fear, when it comes to gossip or judgement from others. Why should he feel ashamed? This is something natural, which means that the next time Deok Jae calls him (chapter 47), he will be able to reply.

To all these confessions, the lord responds with a similar confession. (chapter 49) He understood the painter’s words and there is a certain resignation in him. He also makes up his mind that there are just sex partners and nothing more. His decision mirrors the painter’s confessions. He has also got aware that the painter is not willing to open his heart. However, what caught my attention here is the word “mind”. All this time, the noble imagined, he desired that the painter revealed his thoughts, while in reality, he was aiming at the artist’s heart. The lord has not realized that what has moved him all along was his own heart and not his mind. I have the impression that Yoon Seungho explained his love with his mind. He couldn’t recognize love, since all his thoughts were revolving around the painter. The painter was in his mind, he wanted to know what the artist thought, unaware that his heart was the trigger for his thoughts, and not his mind. He explained everything with his mind, therefore only valet Kim and Min were able to perceive his true motivation. We have to envisage that the lord has never experienced love before. So in this moment, he is taking his distance from the painter. He will act like in the past: he is just following the reaction of his body.

On the other hand, due to all these confessions, the readers witnesse Baek Na-Kyum’s transformation. He is accepting his homosexuality and his physical relationship with Yoon Seungho. He has no problem to admit that he enjoys their physical interactions and he will now follow the reaction of his body. All this indicates he has regained some pride. That’s why I am declaring that the commoner doesn’t act and perceive himself as a prostitute any longer as having sex means work and not pleasure. Now, you understand why I liked this chapter very much. Baek Na-Kyum reveals his real strength, he has almost returned to his older self. Like I had described him in my first analysis (Baek Na-Kyum and Seungho: a comparison), Baek Na-Kyum has always accepted his homosexuality as something positive and natural, until he met the terrible scholar and in chapter 49, we can witness it. With his confessions, he is rejecting all the rules set by Jung In-Hun, one by one. He is dropping Jung In-Hun’s belief for good.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: Yoon Seungho’s long fight and struggle (part 2)

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

In the first part, I listed all the scholar’s rules Baek Na-Kyum had to follow. These laws were part of the coercive persuasion perpetrated by Jung In-Hun.

  1. The artist can’t be associated to sodomy.
  2. He is not allowed to paint erotic paintings.
  3. He can’t admit to be a homosexual.
  4. He isn’t permitted to have sex with a man.
  5. He is not allowed to concede that he feels pleasure, when he has an intercourse with a man.
  6. He is not authorized to question the teacher’s words and actions. He has to obey him blindly.
  7. He is not permitted to fall in love with another man.

Then I explained that the more time passed on, the more the painter violated the scholar’s rules because of Yoon Seungho’s actions. At the end of the chapter 21, we can say that Baek Na-Kyum has already broken rules 1, 2, 3, 4 and 5. But he could use the excuse of being drunk in order to diminish his “wrongdoings”. Furthermore, the seme was the one responsible for this. If he hadn’t acted as Jung In-Hun, nothing would have happened. That’s the reason why Baek Na-Kyum blames the noble for this. By doing so, he can keep denying his homosexuality and he would have kept following the teacher’s regulations. However, like I explained in the first part, Baek Na-Kyum wasn’t innocent either, he did know what was happening. By acting as if he was seeing the scholar, he had the excuse to forget this night. Besides, the painter was the one confessing first and not the other way around. We shouldn’t forget that the aristocrat didn’t respond to the kiss immediately. He still hesitated for a few seconds.

Besides, at different moments, the low-born’s behavior did rock the rule 6 (chapter 8, 10, 19) but each time, Jung In-Hun always had the last word. In the chapter 8, Baek Na-Kyum had to hide the deal. In the chapter 10, the hypocrite had to remind the painter to listen to his words (not to paint erotic paintings) and in the chapter 19, we saw the low-born objecting to the noble’s accusations. But like I mentioned above, Jung In-Hun’s power over the commoner is immense and deeply rooted in the painter’s mind.Imagine that with only one hand, the low aristocrat was able to create some distance with the artist. The latter stopped approaching his learned sir after this gesture. Then, the teacher argued with Baek Na-Kyum that with his explanation, he was questioning his abilities.

Here Jung In-Hun is already implying that this is not the artist’s place to doubt the scholar’s talents. He even ends the discussion, when the painter objects that he never meant to criticize him.

Notice that the scholar not only showed his disapproval but also abandoned him, nonetheless the painter accepted the scholar’s rejection. He never followed him and obeyed without expressing his pain.

Since he never fought against the teacher after that, it reveals that the regulation 6 represents the central hindrance, the biggest wall. Baek Na-Kyum had already been abandoned once, so this was nothing new. However, this abandonment is just short-lived as later the noble realizes that he needs the artist’s help (chapter 24).

This explicates why the main lead Yoon Yeungho had to use more and more his power and strength in order to remove these regulations one by one. The rape represented the peak of the noble’s force, yet he failed to destroy this guideline completely. At the pavilion, the commoner conceded his love for a man (an indirect coming out) so he violated the rule 3. The artist still whispered the low aristocrat’s name so that we can say, the painter remained faithful to his “learned sir” so he ensured that the law 6 wasn’t broken.

The sex marathon might have removed the rules 3 and 4 completely, however Jung In-Hun’s authority was never challenged. In other words, Yoon Seungho was forced to use his position and his physical strength to have the painter submitted to him. While the lazy readers only perceive the strength the protagonist exerts on Baek Na-Kyum, they fail to recognize that the seme’s struggle is actually helping the artist in the long run, whose mind and body are imprisoned. Due to the lord’s actions, the painter is triggered to admit his own sexuality and his pleasure.

As a conclusion, Baek Na-Kyum has to free himself from the scholar’s doctrines and if Yoon Seungho wants to obtain his love, he needs to remove all the regulations set by the terrible aristocrat, especially the regulation 6. If Yoon Seungho was only physically attracted by the artist, he would have dropped him. That’s why we can definitely affirm that the protagonist is already in love with the painter, their first night together marks the beginning of Seungho’s love for the commoner. That’s why there is a trace of a hickey left on the painter’s neck visible during the forced sex. (Thank you @Slam_ for this observation) Therefore he views the painter as his “wife”. Only his love for Baek Na-Kyum could give the main character the strength to keep struggling. That’s why he doesn’t admit defeat, although the low-born hurt him over and over again, although he was once on the verge of giving up on him (chapter 35). Let’s not forget that back then, he saw how Jung In-Hun was flirting with his “wife” who kept blushing due to the scholar’s caresses. However, he didn’t do it because he saw the painter not following the double-faced man. That’s why I would like to examine the following chapters under the following aspect: Baek Na-Kyum’s attitude towards the rule 6 because Yoon Seungho’s struggle is strongly connected to this doctrine.

In the chapter 29, I see another important moment, where Baek Na-Kyum is questioning his admired sir’s action. During this chapter, the artist asked the scholar to run away together. This is quite interesting because for the first time, the commoner voices his true thoughts and emotions in front of Jung In-Hun without being pushed to do so. Here, it shows that their relationship has changed, the painter is not really the teacher’s servant. He acts as a friend and advisor, they are more on equal footing. Therefore the low aristocrat is obliged to embrace the artist. We know how much the noble abhors to be close to commoners hence we can imagine how he must have felt in this scene. He disliked it very much but he had to because he needed the painter’s help. He didn’t want to give up on his dream to get a high position, even if it meant to give up on his moral standards and doctrines. The powerful noble Yoon Seungho might have not been present but his shadow was present in the conversation. Due to the powerful noble’s action, the artist had made decisions on his own and even begged Jung In-Hun to listen to his request: flee from that mansion because he feared for their life. So while Yoon Seungho is fighting for the artist’s affection, the other is struggling because of Jung In-Hun’s special status: he represents the artist’s highest authority, yet as you can observe, this pedestal is shaking more and more.

Consequently I came to the realization that the chapter 30 marks a pivotal moment in the relationship between Baek Na-Kyum and Yoon Seungho affecting his bond with Jung In-Hun. We should remember that in this chapter, the innocent man is pledging his alliance to the protagonist thereby the rule 6 (“He is not authorized to question the teacher’s words and actions. He has to obey him blindly”) becomes disturbed.

Now Baek Na-Kyum has two lords to show his loyalty hecne he’s caught between a rock and a hard place. Here, he might not dispute his learned sir’s actions and character, yet he has to listen to two different people.

Notice that the more Baek Na-Kyum lives by the seme’s side, the more he starts questioning the scholar’s behavior. This is quite important since it indicates that Baek Na-Kyum is jolting more and more on the rule 6. Let’s not forget that Baek Na-Kyum was truly hurt and disappointed, when the valet Kim told him that the scholar never asked about his health. . The sex marathon might have caused the painter’s sickness, however it helped the artist to question his learned sir’s action. In the picture above, he is criticizing his admired sir and he even wondered why the noble showed no reaction after witnessing how he was dragged away by Yoon Seungho. The teacher’s indifference pained him to tears.

Then in the chapter 35, he even asked the scholar for an explanation reflecting a progression. The artist views himself as good enough to ask about the aristocrat’s reason. He is perceiving the low noble more and more in a different light in the chapter 35, especially when he hears the noble declaring that he would have never spent money for him. Baek Na-Kyum even replies that he was seriously ill, however Jung In-Hun shows no real concern. He still thinks that a few caresses will be enough to get what he wants. He is so used to the painter’s submission. He abandoned him twice, nevertheless the artist always viewed him as his master and never questioned his past actions (chapter 1, 19: the several abandonments). That’s why he doesn’t feel the need to put much effort in his deception. In the scholar’s mind, the painter is still his servant. He just needs to remind him of his task and the low-born will obey him. That’s what he is expecting. However during this scene, the intellectual didn’t pay attention to the change in the artist’s attitude. The fact that the latter asked him why he never visited him and the commoner even replied that he was seriously ill, these were clues of Baek Na-Kyum’s transformation. But since Jung In-Hun is too selfish and was himself under pressure because he realized that he might end up with nothing, he didn’t catch these details. The picture of painter standing in front of the door with his head down reflected his second pain and disappointment.

He is starting distancing himself from Jung In-Hun. The law 6 is more and more shaken, until he finally lies to Jung In-Hun. Since he has already vowed to treat Yoon Seungho as his master, he can’t betray his second lord, the famous sodomite. The second reason for his dishonesty is that the seme’s vulnerability did move his heart, hence he could only hide the truth. Moreover, I would like to add another cause for the artist’s lie. Since Jung In-Hun had been acting as if he knew nothing of the real relationship between Baek Na-Kyum and Yoon Seungho, he couldn’t accuse the painter of lying. As he was the man who developed this doctrine where homosexuality is considered filthy and vulgar, the low noble couldn’t mention it because this would signify that he had been manipulating the painter and the latter would have got aware of it. So the regulations set by the teacher became the reason why neither Jung In-Hun nor Baek Na-Kyum could be honest. If they had been frank to each other, then this would have meant that the scholar had been violating himself his own laws and his authority would have not only been tarnished but also doubted. This would have displayed that the scholar has been acting as a pimp. I hope, this is understandable.

The most interesting aspect is that Yoon Seungho could never experience how the artist started questioning the teacher’s power and authority (chapter 29, 34, 35 and 38). So in his eyes, the scholar’s influence over the painter seemed to be intact. And now we come to the final act of the painter’s challenge. This was again triggered by the main lead’s question: who will be responsible for him? Yoon Seungho expressed his doubt that the artist wasn’t truly selfless like he claimed. These remarks made the latter ponder, as he felt that Yoon Seungho was correct with his statement. He did hope that the teacher liked him. So he was indeed bothered until he felt the need to interrogate the scholar himself. Since I listed the teacher’s doctrine, now the manhwalovers can judge this episode differently. I have to admit that in the past I only examined the chapter 40 under the aspect “fate” and “prostitute”, hence I wrote before that Jung In-Hun revealed his true personality because he was pressured, angry and jealous. First, he realized that the promise made by Yoon Seungho is fake. Moreover, he resented the artist because the wealthy noble favored the latter so much (new clothes, the room next to the master, the right to spend the night with the lord, invitation to the pavilion and to the hunt etc), while the rich aristocrat somehow neglected him, a noble too. Furthermore the hypocrite was asked by a commoner to take his responsibility.

However, now I sense that this wasn’t just an outburst. I would like to say that the teacher had another intention with his behavior. Their conversation shows that Baek Na-Kyum is challenging the lord’s authority. He is questioning the scholar’s actions. That’s why this time, the teacher looked at the low-born’s face and showed his true personality. He let the artist see his gaze and you know that the gaze serves like a mirror. Hence in that moment, Baek Na-Kyum saw his own reflection in the teacher’s gaze for the first time. We shouldn’t forget that the painter could never see his own reflection in the teacher’s face (chapter 2) (chapter 7) and this was deliberate. The commoner could only witness the teacher’s smile. The painter interpreted his fake smile that he was liked and accepted by his learned sir. However, the moment the artist confesses his love, he is confronted with a terrible image of himself in the scholar’s gaze. The eyes reflect the image of a prostitute, which wounded the low-born so much that he became blind. He couldn’t bear this reflection, yet he failed to recognize that the gaze never reflects the truth, as the the eyes contain a lot of subjectivity. Here, the low noble could reveal how he viewed Baek Na-Kyum, someone unworthy and despicable. And the final words said by the low aristocrat cause the artist to become deaf as well. He is so traumatized that he is like paralyzed and let the noble leave the library without being able to argue. That’s why he has this negative perception of himself.

Why did the teacher act like that?The teacher used his gaze and words to remind him of the rule 6. Since he is just a whore, he is in no place to doubt the noble’s skills and actions. He has no right to ask the teacher that he should be responsible for the painter. It was his way to demonstrate his power over the painter and force his submission. He, as a noble, stands higher than him, a whore. The rule 6 had been rocked and Jung In-Hun needed to remind the painter that he has to follow his doctrine unconditionally. The scholar needed to put the commoner back to his rightful “place”. Let’s not forget that the artist has been indeed challenging his authority so by turning him into a whore, the poor man is made so low that he is not allowed to express his own wish and thoughts. Remember what I wrote above: Jung In-Hun is so used to abandon and hurt the artist that he still believes that the artist will still remain his person. He is no longer his student, his spy or his servant but he is just his prostitute. As a whore, he robbed him every right and that’s why in the chapter 44, the teacher still thinks that he can use the painter. In his mind, his last trick must have turned Baek Na-Kyum into a submissive person again and he knows it that’s why he still thinks, he can use the commoner as his pawn. He might have abandoned the artist for a third time, he has the impression that the low-born will always follow his orders like in the past. Despite each rejection, Baek Na-Kyum welcome him with open arms (chapter 7 and 24) so he still believes that he has the upper hand and he is still controlling the low-born. That’s why he leaves the artist without biding goodbye. He doesn’t need to keep the pretense but knows very well that the painter has stopped rebelling after destroying his identity and personality for good. With this new interpretation, I come to a different judgement about Jung In-Hun.

I thought, he was just arrogant and stupid to lash out on the painter in the chapter 40, yet now I only see his viciousness. He knew what he was doing with his words. He wanted to destroy the painter’s spirit intentionally and he did achieve it. Now, Baek Na-Kyum believes the scholar’s words: He is a prostitute because he felt pleasure with Yoon Seungho and has accepted his homosexuality. The poor man is associating sodomy with prostitution. The reason for his resignation is that he did see a confirmation in the learned sir’s eyes. However, the admired sir did make a mistake. By leaving without saying goodbye, the artist decides to cut ties with his former teacher that’s why he asked the butler Kim to get rid of the painting. Since he is just a prostitute, he no longer needs to be associated with the scholar. The teacher would never see his talents and appreciate his creation. He did cut ties with the scholar as he considered himself unworthy.

However, the poison hasn’t been removed from the artist’s mind. The servants view him as a servant doing some sexual favors to their master, Deok Jae calls him a and even the lord told him that he was an easy conquest. He can’t escape from this new prison, a hell created by the gaze from others.

If we look at the evolution of the relationship between Baek Na-Kyum and Yoon Seungho, we will notice that the lord had to exert force in order to break a wall, the rule 6 hasn’t been removed yet. It is still present in the painter’s mind so the noble’s rough actions seem to confirm this continuity.

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Since the protagonist noticed that his partner is acting and has become blind and deaf (each nice gesture he did for him was somehow denied), he wants to use the painter’s body in order to trigger some reaction. My impression is that Yoon Seungho wants to corner the artist again so that the latter expresses his true wish, his goal is to trigger his instinct of survival.

You. Survivors need to learn to put themselves at the center of their lives. After structuring their time around the abusers’ demands, it can be difficult for survivors even to remember their own opinions and wishes. Abusers convince their victims that their opinions are stupid and wrong, leading victims to change the way they view themselves and the world.

From my point of view, Yoon Seungho wants the painter to put himself at the center of his life. I’m quite sure that these words Baek Na-Kyum said must have hurt the noble. The latter’s wishes only matter, the artist has no wish and emotions on his own. For the noble, Baek Na-Kyum was never his servant but his bride, while the latter had the impression that this is what Yoon Seungho wanted: a prostitute. That’s why the noble turns around the painter so that he can no longer see the master’s gaze. It is pointless because the low-born is no longer using his eyes and ears to perceive the reality. He relies too much on others (Yoon Seungho, the head-maid, the servant Deok-Jae, Jung In-Hun). Through pain and pleasure, he might realize that he is a person on his own, he has an identity but for that, he needs to exist and express his wish, emotions and thoughts.

Fear and pain can trigger the painter’s survival instincts. We know for sure that the noble wants the painter to cry . He believes that through pain inducing his tears, the painter could finally reveal what happened back then. He witnessed it with the rape and the fellatio. Each time, Baek Na-Kyum retaliated with his brutal honesty. The master prefers getting hurt than seeing his partner as an empty shell. As a conclusion, Yoon Seungho is willing to risk his relationship with his lover so that the man can finally drop his stuporous state. The main lead knows that the scholar is responsible but he has no idea what really happened.

I am hoping that this sex session will mark the breakthrough and the rule 6 will truly destroyed so that the poison spread by the vicious aristocrat is removed entirely. Let’s not forget that Yoon Seungho was willing to wait for the painter’s love in the past (chapters 36-41). So once the artist has entirely dropped the scholar’s doctrine (1-6), the lord will wait for Baek Na-Kyum’s love. As you can see, the sudden employ of force is no longer surprising in the retrospective, it represents a continuity. Violence seems to be needed in order to remove the brainwashing. This is interesting because this approach is indeed questionable, however back then there was no psychologist and Yoon Seungho is entering a new territory.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: Yoon Seungho’s long fight and struggle (part 1)

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:

The chapter 48 marks a turning point in the relationship between the wealthy noble Yoon Seungho and the low-born Baek Na-Kyum. If we look back at the evolution of their bond, we will notice a certain pattern. Everything is related to the scholar’s teaching and the following doctrine based on seven rules:

  1. The artist can’t be associated to sodomy.
  2. He is not allowed to paint erotic paintings.
  3. He can’t admit to be a homosexual.
  4. He isn’t permitted to have sex with a man.
  5. He is not allowed to concede that he feels pleasure, when he has an intercourse with a man.
  6. He is not authorized to question the teacher’s words and actions. He has to obey him blindly.
  7. He is not permitted to fall in love with another man.

As you can observe, the 7 laws Jung In-Hun imposed on the low-born through the coercive persuasion, the scientific term for “brainwashing” represent the different barriers Yoon Seungho has to overcome. The 7th rule is the final step before removing Jung In-Hun’s indoctrination for good. This is important since it explains why the lord had to fight right from the beginning. Furthermore it explicates why Baek Na-Kyum had chosen Jung In-Hun as his true love. By doing so, the painter would follow the scholar’s rule. He would never have sex with a man, since the teacher hates homosexuality. On the other hand it allowed the artist to remain true to himself. It was his subterfuge to give up on his own identity and personality.

The first barrier: The painter rejected the noble’s offer, when he remembered the main lead’s reputation. He can’t be associated to a sodomite hence he lied about his identity. Therefore the seme was forced to take the man with him and pressured him until the painter gave in. He had to admit that painting was his way to survive. Notice that Yoon Seungho cornered him to concede this.

The second wall: The master blackmailed the artist in order to have him worked as his painter, when he noticed that his pressure was short-lived. We shouldn’t forget that the painter tried to flee in the chapter 4. Fortunately, the seme discovered the poem and his admiration for the noble Jung In-Hun. So he used the teacher as leverage. First, he made an offer: paint for me and your learned sir will get a high position. (chapter 7) Notice that in order to force the painter to violate the scholar’s rules, the noble had to use stratagems that didn’t require a lot of strength in the beginning: some little menace and the blackmail. Yet, the manhwaphiles can detect that the thread keeps growing as well. The aristocrat already has to use his power (influence and money) in order to corner the painter (chapter 7) which shouldn’t be neglected. It did represent a lot: a roof and free food for the low noble.

Since it wasn’t enough. The powerful main character had to exert his own strength and body to touch the painter’s mind and body. Note that the noble invited 3 nobles to his sex session in the chapter 8 and this is no coincidence. He had to demonstrate his stamina and charisma to arouse Baek Na-Kyum and he did succeed. The artist wished to replace the two ukes thereby he was so excited that he had to masturbate right after. I am quite sure that the innocent protagonist hadn’t done it before due to the scholar’s preaching. So the chapter 9 marked another progression. Baek Na-Kyum disrespected the rule 3 for the first time on his own. He can’t admit to feel attracted to another man, to be recognized as a sodomite. That’s why the masturbation represented a compromise. Since he was alone, nobody would know about it. As you can detect, little by little Seungho is removing all the rules set by the low aristocrat. But the higher the rules are, the more Yoon Seungho needs to use force.

Let’s take a closer look to this evolution. The increasing use of violence is linked to Jung In-Hun’s presence at Yoon Seungho’s mansion. After being invited to Yoon Seungho’s mansion, the jealous scholar had to remind the commoner of his obligations. (rule 2) Surprising is that due to his interaction with the main lead, Baek Na-Kyum had somehow started thinking on his own, using his own critical thinking therefore he reprimanded the rich master for his cruel behavior towards the servant who got killed. In that moment, Jung In-Hun had to put him back to his place. He admonished the painter harshly for his criticism. As a low-born, he was not allowed to make such comment. (chapter 10) From my point of view, the chapter 10 not only reveals the huge influence Jung In-Hun has on the painter, but also illustrates the growing influence of Seungho on the artist. The master’s words and actions did shake the rule 6. But it wasn’t enough to remove this wall hence Baek Na-Kyum accepted the low noble’s reproach and remained silence.

Due to the incident with the ruined creation, the commoner got punished. This time, the main lead used his own physical strength directly on the artist (slapping and blocking the painter’s mouth). (chapter 11) Compared to the past where he just pushed the low-born away, his gestures in the chapter 11 displays the increasing use of Seungho’s force. But the master felt remorse hence later the painter was only scratched by the master. Nonetheless, let’s not forget that Seungho had already set his eyes on the painter. He wanted to taste the artist. As a first conclusion, the lord had only removed the rule 1 and 2. At the end of the chapter 15, the noble is facing another hindrance, the rule 3: his denial of his homosexuality. Therefore the masturbation in the chapter 16 marks the first step in order to destroy the rule 3. Notice that the noble was annoyed, when the artist gave the false excuse that he was tired in order to avoid the noble. So he somehow “attacked” Baek Na-Kyum by hugging him and grabbed his penis. (chapter 16) Let’s not forget that he didn’t ask for the commoner’s permission. That’s why the painter cried in that scene. The latter knew that he was violating the rule 3, yet the seme saw that Baek Na-Kyum was aroused and felt pleasure.

Since the lord knew about Baek Na-Kyum’s affection for his teacher (chapter 7), he was well aware that he needed to wait for the right opportunity. When the main character witnessed the fight between the low-born and Jung In-Hun (chapter 19), he was already on his guard waiting for a signal which appeared in the form of the stolen bottle. He seized the opportunity to meddle between Jung In-Hun and Baek Na-Kyum. He needed to squash in between these two men.

So when he appeared in front of the painter, the artist was hallucinating because he had revealed to his scholar that he had broken the rule 2. Besides, he was violating the law 6. We shouldn’t forget that from the chapter 8 on, the painter started disobeying the low noble. First he justified his violation by claiming that this was for the scholar’s sake. Then in the chapter 10, he expressed his own mind in front of the teacher, however it concerned Yoon Seungho. Finally in the chapter 19, we see the painter for the first time talking back to his “master”.

Chapter 19

He rejects the teacher’s criticism that he was the one who seduced the main lead. Pay attention that the low-born voiced his own thoughts for the second time in front of the arrogant “peacock”. As the manhwaworms can sense, the rule 6 is more and more shaken, the longer Baek Na-Kyum is living under Yoon Seungho’s roof.

Striking is that their “first night” represents a violation of the rule 3 and 4. This explains why Baek Na-Kyum has every reason to deny the presence of Yoon Seungho in his chamber. By acting as if he was delirious, the painter found a subterfuge in order to deny his homosexuality and his love for a man. This was supposed to be addressed to the scholar, yet the painter was well aware that the scholar would never accept him at all. That’s why the readers get images from Baek Na-Kyum’s perspective and it is quite clear that the artist never saw Jung In-Hun. (chapter 21) In fact, he was attempting to deceive himself and the noble. During their night, Baek Na-Kyum was well aware that this could only remain a dream because if he admitted it as a reality, then this would signify that he was conceding his own sexual orientation and even his attraction to Yoon Seungho which he felt very early on (chapter 2, 6, 8-9, 13-16). Therefore I come to the conclusion that the artist somehow knew what happened during that night but chose to act as if the noble was Jung In-Hun. Later he repressed his memories and even ignored them so that he would act as if he was still following the teacher’s doctrines. (chapter 21).

As a conclusion, from the chapter 1 to 21, the rules 1 and 2 were removed, whereas the laws 3 and 6 were just shaken. This is important because it justifies why the noble has to use more and more force in order to get what he wants.

However, their first night marks a pivotal moment for the noble as well. While in the past, the main reason for inciting the artist to break the rules set by Jung In-Hun was rationalized by the main lead’s desire to have erotic paintings, the motivation started shifting, the master felt more and more attracted to the artist. We could say that the reason for Seungho to pressure the painter was the noble’s libido till the chapter 20. The moment the protagonist feels love for the first time, his motivation changes. He is no longer looking for a sexual satisfaction but for warmth and affection. The discovery of Baek Na-Kyum’s purity left a huge impact on him.

In the chapter 21, Yoon Seungho made love for the first time. He experienced something totally new. For the first time, he had an intercourse with a virgin and they made love. Secondly Baek Na-Kyum had kept his chastity because he was determined to remain faithful to his love Jung In-Hun. Since the low-born was deeply in “love” (For me, this is not a real love) with his teacher, it was as if he had made a vow of fidelity and chastity. Yoon Seungho discovered someone so pure and innocence, although the latter painted erotic images and came from a brothel. Imagine what the lord must have felt. He met someone so pure despite his filthy surroundings hence he stands so much in contradiction to Jihwa. The red-haired noble never confessed his love to his childhood friend and he never said that he kept his virginity for him, out of love. In the painter’s chamber, (chapter 21) Yoon Seungho heard a love confession, got hugged and kissed tenderly and there was someone crying out of happiness because of him. For the first time, he saw that tears could be related to happiness and he could affect someone positively. That’s why he reacted by kissing the painter’s eye and tears. (chapter 21) Although he knew that it was just an illusion because Baek Na-Kyum had confessed to someone else, he hoped deep down that the painter would love him, if he remembered their night today. He tried to trigger his memory through different tricks (like here with the book) but he failed (chapter 23). Yet he showed a certain patience as he didn’t pressure the artist to paint their night immediately, he gave him time. He imagined that once Baek Na-Kyum remembered their night and painted it, it will become a reality, a proof that this was not an illusion. But because of the coercive persuasion, Baek Na-Kyum tried to repress his memory. He had to if he wanted to keep following the scholar’s rules. The painter chose to ignore the images he had since it meant that he hadn’t kept his vow. All this time, Yoon Seungho has no idea about the true nature of the relationship between Jung In-Hun and the low-born. First, he believes to see it as a crush, then he witnesses the depth of the painter’s feelings. This is important because from that moment, the main motivation for the lord will be love and no longer his libido. This will be his goal which will give him the necessary strength to remove the other rules: 3, 4, 5, 6 and 7.

Yoon Seungho imagined that since he took the painter’s virginity, the latter would give up on his love and focus on him, but it didn’t happen. The painter had to as he had been formatted to respect the teacher’s doctrines. That’s why even when the lord forced himself on the artist, the commoner still whispered the scholar’s name. (chapter 25) The rape represented the ultimate use of violence which kept increasing from the start. But the noble failed as he was not able to remove the rule 4, 5 and 6. Yet he did achieve something which I’ve realized only now. For the first time, Baek Na-Kyum was admitting that he loved a man and he could no longer the excuse that he was under the influence of the alcohol. So at the pavilion, the artist violated the law 3 (being a homosexual) as he confessed his love for Jung In-Hun.

That’s it for today. I’ll write the second part later.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My reddit-Instagram-tumblr-twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Dine With A Vampire: Master and Monster

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

In my first analysis about Dine With A Vampire, I pointed out that the vampire Park Chi-Hwan was behaving more like a human than the real humans Joo Sooin and Kwon Sungha because he showed more empathy and care for Joo Sooin than the human Sungha. Besides, Sooin had become a zombie due to Sungha’s hatred for homosexuality and the latter was in fact the real monster due to the emotional and physical abuse he perpetrated on the main lead. Now, I would like to examine the chapters 12 and 13 because both revolves around the new relationship between Sooin and Chi-Hwan. What are they to each other? Who is the master and who is the animal, the monster, in their relationship? This essay will try to answer this question.

What caught my attention in the two chapters is that the long abuse experienced by the main lead totally changed his perception about himself. He judges himself as a monster because he is a homosexual. That’s why he keeps using the words “weird” in the chapter 12 and in the chapter 13, he calls himself “a pervert, a fag”. Imagine, he is actually insulting himself. He sees himself as an anomaly, as a monster who is not allowed to exist. Hence he can’t attract attention. We shouldn’t forget in the chapter 10 and 11, Sooin felt so uncomfortable with the new clothes and the number of dishes proposed by Chi-Hwan because he was asked to choose. Since Sungha took away his freedom, our main character lost his ability to say what he truly likes and desires. The last image above illustrates the impact of the violence used on Sooin. It becomes clear that Sungha truly destroyed Sooin’s personality and identity. Just like Baek Na-Kyum (the main lead from Painter Of The Night), Sooin can’t voice his true desires and thoughts properly. Notice that there are a lot of pauses in his sentences, when he speaks. Besides, he uses the same idioms (pervert, fag) than the manipulator Sungha so that we can conclude that the former friend used coercive persuasion. The outburst of his self-hatred was caused by the single words said by the vampire: Striking is that the moment he hears this sentence, he starts mistaking the vampire for Sungha. Note that he is not even looking at his sex partner, because he hid his eyes with his arm. This reveals the importance of the gaze once again. Sooin can’t look at Park Chi-Hwa as he fears to see his own reflection in the vampire’s eyes. Will he see himself in the man’s gaze as a monster? Here, I feel the need to elaborate Jean-Paul Sartres’ theory about the gaze.

In Sartres’ theater play “No Exit” (“Huis Clos” in French), the three protagonists Joseph Garcin, Inez Serrano, and Estelle Rigault, are dead and their damned souls are brought to the same room in Hell where there is no mirror. As they are locked inside by a mysterious valet, they are confronted with their own reflection through the gaze from the others. Here, in this deformed reflection, the three sinners are unable to accept what they see that’s why at some point Garcin concludes that “”hell is other people” (“l’enfer c’est les autres”) because the judgement perceived through the gaze of people makes it unbearable for the “sinners”. They avoid the gaze because they can’t face their own wrongdoings and flaws. In other words, the gaze serves as a mirror, however there is a lot of subjectivity in it and the gaze doesn’t truly reflect the reality. Here, Joo Sooin never sinned but he was sent to hell due to Sungha’s gaze containing hatred and resent. As you can detect, Sooin’s fate resembles the fate of Garcin and the others. He lived in a cage like an animal with no hope to escape, yet he was innocent. Because he spent so many years with such a terrible reflection, he kind of became “blind” and relied more on his ears. That’s why the uke’s eyes were so lifeless, when the vampire met him for the first time. It was as if his eyes had died due to the constant confrontation with Sungha’s gaze. As a conclusion, the main lead sees himself as a monster, not deserving any attention and warmth. He is still surprised by the affection the vampire is exuding towards him. This explains why the main lead started fearing the supernatural creature, when Sooin heard chi-Hwa sighing after the uke had refused to comply to the vampire’s needs (drinking his blood). He heard Chi-Hwa sighing and misinterpreted this as dissatisfaction. Observe that the drawing doesn’t show Sooin’s eyes and at the same time, he is only focused on the vampire’s voice and not his eyes. We could say that the uke is still under the influence of the brainwashing operated by Sungha. Sooin has not regained his humanity, his true identity. The so-called monster is still under the ruling of Sungha, because he rejects to fulfill the vampire’s need due the ex-friend’s ideology. The innocent man still fears the gaze and the gossip from others. Now you can understand why Sooin became a zombie, a monster in his eyes. He saw a bad image of himself in Sungha’s gaze but at the same time he was manipulated through the friend’s doctrine that even others would perceive him like that. At some point, Chi-Hwa gets aware that Sooin needs to look at him, so he forces the man to look at him in the eyes. This is important because for the first time, Sooin is confronted with a different gaze and judgement. He recognizes the lord, his kindness.

Striking is that the moment Sooin shows himself with the new clothes, he awakes the vampire’s appetite. Surprising are the clothes Sooin chose. They are dark (dark blue, black) reflecting his actual state of mind: almost lifeless, very pessimistic. So the vampire’s excitement is not caused by the colors, rather by the form of the collar revealing his neck and his chest. This is very alluring for the supernatural creature. In Park Chi-Hwan’s gaze, the main lead is definitely no monster but a delicious meal. That’s why he gulps loudly and his fangs come out. He wants to taste the man’s blood. In this moment, Chi-Hwan seems to follow his instincts hence he approaches Sooin. It was, if the vampire’s true nature would surface, he is a monster led by his blood thirst. Remember that Park Chi-Hwa even described the vampires as predators or parasites, so one might say that they are indeed monsters. So do we have two monsters here?

While the main lead judges himself as a monster, Park Chi-Hwa calls him “master” and treats him as such. He listens to Sooin’s excuses and wishes. When the uke refused to give him his blood in the cabine, the supernatural creature questioned himself. The readers can witness how the so-called monster reflects on his behavior. He even kisses the man, comforts him twice, when he realizes the traumatized state of Sooin. He knows the importance of Sooin’s well-being. In the vampire’s eyes, the human is so precious and delicate as he represents his source of energy and life. Sure, he needs his blood thereby one might argue that Sooin is just a prey, the vampire’s meal and not a master. The reader could even confirm this judgement, Park Chi-Hwan is a monster because in the chapter 13, the author chose to reveals the creature’s inner thoughts showing his beastly nature. He wants to devour Sooin. All his thinking revolves around food and even death, the manhwaphiles can detect the brutality in his language. I chose as illustration the following image since it represents the peak of his hunger. The readers can even sense the increasing of his bestiality as the expressions are getting more and more violent: “I want to devour him”; “I just want to rip him open” … “and devour every part of him”. We have the impression that the vampire’s animalistic instincts are growing to the point he could lose the control of his bestiality. However at no moment, he changes his behavior. I feel that while his thoughts indicates the awakening of his “monstrosity”, he acts more humanly in reality. He stands in opposition of Sungha, who gave up on his humanity and his reason. He let social standards and religious doctrines ruled his behavior and his thoughts.

My point is that Park Chi-Hwa followed all the requests Sooin had in the chapter 12 and 13. One might dispute that he rejected to have a fellatio in the cabine, as Sooin wanted. However, his proposition to do it home represents the compromise between the concerns the uke expressed before (people might hear his voice, his fear of people) and the request Sooin had. All this mirrors how caring and attentive the vampire is. He might be an “animal”(when we analyse his thoughts), nonetheless he never lets his instincts cloud his reasoning and judgement. At no moment, he acts like a monster towards the human. Like I mentioned before, the vampire treats the human like his master. However, if you take a closer look at the following image, this reflects their relationship: Sooin is the master, yet he is below the vampire as if he was inferior to the vampire. Furthermore, the creature gives the order: “Suck it”. Besides, the man calls Chi-Hwa “sir” and this is how someone addresses to a master. So in my opinion, both are masters. The vampire is helping the man to become a human again, he is helping him to get a personality and identity. He knows that the man needs to discover that his homosexuality is something natural, that he is first a human. That’s why he promises Sooin to let him forget Sungha. For him, Sooin should never define himself based on his sexual orientation. They live in symbiosis, in perfect harmony. Sooin is receiving love, warmth for the first time and the other can finally enjoy life too. He is no longer living like a vampire but like a human because he shows his human side to Sooin. As conclusion, both are masters and monsters, although it is only a matter of time, until Sooin becomes a real human who can express himself perfectly and know his taste.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My twitter account is: @bebebisous33. Thanks for reading and the support. Tomorrow, I’ll post about Painter Of The Night again.

Painter Of The Night: « Why ? » (part 1)

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

In the previous essay, I explained the reasons why the painter chose to produce another work. His masturbation did incite his creativity, while simultaneously he felt obliged so that he wouldn’t be perceived just as a prostitute. Yet the result of his picture displayed a lot his state of mind, including positive and negative changes. With only this drawing, I was able to underline the importance of the motivations behind the painter’s action. Striking is that the question “why” seems to be in the center of the chapter 47 (it already started in the previous chapter). First, we have different people asking directly such a question: “why?” Others are not using the question mark so obviously, however their questions or remarks let perceive that they are wondering about the motivation behind the comments or behavior, like for example Yoon Seungho. Let me show you an example. After the appearance of the maids, the painter stands up, when he hears that they will prepare new rice for him. The aristocrat witnesses how the artist stands up and wants to leave the room. The noble is wondering about the painter’s reaction: Why would he feel the need to go to the kitchen? Why would he stand up? The lord’s words (“you are no servant”) are the proof that he overheard the whole conversation between the maids and the painter in the kitchen and only intervened, when they were criticizing him. This shows that the lord got aware that the painter’s position was unwelcome by his staff. He had the feeling that they would somehow bully, consequently he intervened. At the same time, he decided to make sure that the painter would have a different status so that the domestics would treat the artist better: his personal warning and the new clothes. So now, he sees the low-born acting as if he was a servant, a “scullery boy” which surprises him. He can’t imagine such a change. Why is he acting like a scullery boy, whereas he was so adamant about his status: he is no servant. What provoked the transformation? Now, you understand the topic of this essay. In this analysis, I will examine the pictures and events under this aspect (why?) and question the intentions of the characters and the author behind their actions, conversation and the pictures.

First, let’s talk about the drawings. Striking in that chapter, Byeonduck chose to alternate between distant and close takings. Even in different drawings, the gaze is not revealed or even half-cut. We have even a blank image with just a comment. And you know, each picture has a meaning. From my perspective, the alternation between close and distant takings is used in order to underline the protagonist Yoon Seungho’s feelings but at the same time to unveil his desire to hide his vulnerability. It was, as if the author wanted to respect the noble’s shyness so that he is able to hide his gaze, to keep his mask as someone who has everything under his control. Let me give you an example. Notice that here the noble is expressing his emotions towards the painter. Yoon Seungho likes Baek Na-Kyum for his honest and innocent reactions (his blushing, while observing the lord getting dressed). The master is happy to witness that he is able to evoke the painter’s reddening, while in the past he could only observe this reaction caused by the scholar. So this puts him in a good mood therefore he can’t restrain himself and expresses his pleasure. Yet the readers, just like the painter, are not able to see the lord’s gaze. While the painter is facing his back, the author didn’t draw his face. This is deliberate. In this picture, the manhwalovers are indirectly asked to imagine the lord’s gaze. It was, as if the creator wanted to help the protagonist to hide his weakness, to respect his privacy. As you can observe, only the valet Kim is able to see the protagonist’s eyes, while making the knot. This outlines how much the main lead trusts the butler. But right after, we have a distant taking: In this drawing, the lord is expressing his wish to eat with the painter. But he doesn’t make it too obvious hence he is more or less asking a rhetorical question to which the domestic replies with an affirmation. Here, we have a scheming lord, he is not voicing his desire directly. Why? He is hiding his true intentions therefore he is able to look at the artist. His words are his shield to hide his true inclination. As you can observe, the alternation between the close and distant takings is relevant because it was if the author was helping the protagonist to hide his vulnerability. On the other hand, it shows that the lord is still on his guard. Moreover, the picture also illustrates the huge gap between the aristocrat and the low-born. The latter is on his knees with his head down, a sign of submission and resignation, while the other is standing. What brought them together (the erotic paintings) is now representing a barrier and creating a gap between them. He is just a painter and not a lover. That’s why I would recommend my followers and readers to treat each picture as a drawing and question the intentions of Byeonduck with the picture. Not only this image reflects the actual situation felt by the painter, but also this portrays how the lord is not entirely trusting the painter. He is only revealing his true thoughts in a straightforward manner, when he is not looking at Baek Na-Kyum.

The invisible question mark “why” is also present with the following picture. While Yoon Seungho is teasing the artist, he is actually wondering why the low-born created this unfinished painting. He noticed that the image was somehow lacking, the lines unclear and there are traces in the middle. So the ironical question “You have some place to be, I assume?” shows that the noble is wondering why the commoner did such a drawing, sensing that there is something lacking. Here, the aristocrat is in fact expressing his surprise. Besides, he adds that he never expected a picture (first remark). Like I mentioned it before, Yoon Seungho is no longer interested in the erotic paintings but in the painter. This conversation reflects his interest and care for the artist. On the other hand, the readers are deprived of the painter and lord’s face. There is a reason for that. Here, Lord Seungho is again revealing his true emotions towards the low-born but attempts to diminish or disguise this behind his teasing. Note that the lord is not inquiring the painter directly. He never asks openly: “Why did you paint such an image so quickly and so early, when it is not perfect?” But he is indeed showing that he cares for Baek Na-Kyum, that he is interested in the reason for this unfinished work. Remember that in the past, the commoner would even ask the lord to wait until the painting is finished (chapter 9). Here, we have the exact opposite. In other words, the zoom on the food had a purpose. IT helped the noble to inquire about the cause for this lacking work, he showed his interest and a certain weakness, while he tried to mask this behind his teasing. And now we have a distant taking again revealing the distance created by the ironical remarks. The irony is that Baek Na-Kyum is so naive that he doesn’t perceive the true meaning of these comments and answer so honestly. He can not leave the place without the aristocrat. The lord might be able to veil his weakness, but in reality he fails to realize that his schemes are not helping his cause. The more he hides his love for the painter, the more lonely and depressed the artist is. This creates a distance between them because the noble is not really straightforward and frank with him.

As you can detect, the way Byeonduck used the alternation of close and distant taking is relevant. It mirrors their actual positions: the distance but also Yoon Seungho’s longing for getting close to the painter but the fear to reveal too much of his dependency on him.

That’s it for tonight. I continue tomorrow.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: Needs and Desires

This is where you can read the manhwa. But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:

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This will be the final analysis about the chapter 46. While reading this episode, the final scene caught my attention. We see Baek Na-Kyum masturbating himself for the second time. When I saw this, I decided to compare it to the first masturbation in the chapter 9. By distinguishing the divergences, the manhwaphiles will be able to observe a progression or not. Yet I am glad that I decided to postpone this essay because the chapter 47 had an impact on this topic.

Now let’s go back to the first masturbation. (Chapter 9)

It happened right after a sex session, to be more precise, the artist had witnessed a threesome (chapter 9). The low-born couldn’t wait any longer hence he abruptly left the lord who wanted to see the new creation. (Chapter 9) Baek Na-Kyum excused himself with a lie, he would show him when the work would be finished. However, the true reason for his departure was his erection. Notice that he is using the paper to hide his erected phallus. He was also on his knees before, when Yoon Seungho approached him. The cause of his sexual urges is revealed with the following drawing. (Chapter 9) This drawing represents the painter’s perspective. As you can see, the painter’s eyes are focused on the lord’s hand touching the butt and anus. From my point of view, he is imaging the lord’s touching him. This time, the artist is conscious and can no longer repressed his sexual desires. Later, his gaze focuses on the other uke, the one penetrated by our main lead. Here, it is quite clear that the artist wishes that he had replaced Min. (Chapter 9) In both cases, the painter never painted the sex partners’ faces properly so that it would easier to imagine for him to switch places with them. All these zooms reveal the growing sexual desires. That’s why he feels the need to masturbate, as he can’t repress this urge any longer. This didn’t escape Yoon Seungho hence he couldn’t help himself smiling. (Chapter 9) Although the painter had been quite rude and left him behind, the lord wasn’t bothered. In fact, he was pleased that he had indeed affected the artist.

Remember what I said about this scene. The masturbation happens right behind the door, since he wants to hide his homosexuality. Notice that the man is on his knees and hiding his eyes with his arm. It was, as if the door was not enough, he is refusing to see himself masturbating. (Chapter 9) This position displays his denial about his sexual orientation. His body covers his phallus and his gesture. (Chapter 9) His eyes might be open but his spirit seems to be elsewhere. He is not really looking.Because the readers never see his gesture, they can not be certain. Hence Byeonduck had to draw a picture with his erected phallus showing his masturbation. Striking is that the moment he feels that he is about to climax, he closes his eyes. Here again, this reinforces the statement that Baek Na-Kyum is determined to refuse to face reality and deny his attraction for a man, for the noble. (Chapter 9) When the sperm comes out, it lands on the floor. This is quite important as it illustrates the artist’s attitude towards the semen. He considers it dirty and filthy hence he makes sure that his hand doesn’t get soiled. That’s how much he despises himself and his needs but he can no longer repress these urges. He prefers closing his eyes, masturbating behind a door and using his body to cover his filthy gesture so that no one can ever witness it. But he is too focused on his needs that he forgets that he is making noise so that Yoon Seungho knows what he is doing. At the end, you sense the low-born’s despair and disgusted attitude with his final position. (Chapter 9) The manhwaworms feel his strong refusal to admit his attraction towards the noble, his sexual arousal and his sexual desires towards Yoon Seungho. The painting had such an effect on him, it awoke his repressed sexual desires.

Now, if we look at the masturbation in the chapter 46, the manhwaphiles can detect the huge change. Now, he is no longer hiding his gesture with his body as he is lying on the floor on the side. (Chapter 46) However, he has still a position where it is still protected. If someone came from the side, they wouldn’t detect immediately what the low-born is doing. This can be explained that there is still some shame left but it is now related to his perception that homosexuality is a synonym for prostitution. That’s why he is still reserved. On the other hand, the semen doesn’t land on the floor but on his hand which shows that he no longer feels disgusted.(chapter 46) Some readers complained that he didn’t wash his hand before falling asleep. Yet what they failed to realize is that this proves that Baek Na-Kyum no longer perceives sperm as dirty and filthy. This symbolizes a huge step forwards. Now, if we compare the two masturbations, the readers will notice another huge divergence: the chronology of the drawings of Baek Na-Kyum with closed or opened eyes. In the chapter 9, we had first the painter with opened eyes as he was lost in his thoughts and the moment the ejaculation was about to come, he closed his eyes. Here, we have the opposite, first the closed eyes. (Chapter 46) The reason is simple: he is not lost in his thoughts, quite the contrary. All his thoughts are revolving around the master confirming the change of his attitude. He is no longer denying his attraction towards the noble. That’s why the author lets the manhwaphiles see the images he has in his mind. What caught my attention here is that the painter had visions of the moments, the lord made love to him. (chapter 42) (chapter 46) In the last picture, this happened right after the painter had made a sort of confession which triggered the lord to become more vigorous and passionate. This shows that he sensed the lord’s affection but he can’t define this as such yet.

Surprising is that the moment he feels the ejaculation, he opens his eyes. He is astonished by his reaction. (Chapter 46) The kiss triggered the climax indicating that the kiss, full of love and passion, moved him so much. He sensed the lord’s love stronger here. Since his eyes are wide-opened, it clearly shows that the man is actually facing reality. He is no longer hiding, running away from his sexual desires and admitting that his feelings towards Seungho have changed. Notice that this time, he even questioned himself for this reason. Why could such a kiss provoke such a reaction? He is now looking for an answer, he is no longer running away. He wants to discover the truth.

The final difference is that the painting was the trigger for Baek Na-Kyum to masturbate in the chapter 9, while here it is the opposite. The paper is still blank. However, the next morning he presents a new painting to the lord. So the masturbation and the memories with Yoon Seungho did trigger him to paint. In other words, Yoon Seungho inspired him. (Chapter 47) What caught my attention in the new drawing is that he didn’t select the memory we saw: (chapter 46) The low-born chose the position when the lord complained about the artist’s poor techniques. In this situation, it reflects the artist’s state of mind. Since he considers himself as a prostitute, he felt the need to choose such a position: The picture should mirror his actual situation (whore). That’s why the comment from Deok-Jae hurt the painter so much. He saw it as a confirmation. Besides, the lines in the painting seem uncertain and in the middle there are traces so that we feel Baek Na-Kyum’s lack of confidence and his hesitation. We have to imagine that he didn’t paint for some time.

However, I feel that despite this choice, the painting reflects the artist’s positive transformation. The size of the paper is bigger. Secondly the artist’s body is now as big and important as the noble’s. Both are in the center, while in the picture of Jung In-Hun’s inauguration, he was so small, even in the other drawings. (Chapter 41) Furthermore, his face is more defined. Now we are able to see his eyes, unlike in the past, where he had no face and as such no identity. This drawing symbolizes something important. Little by little, he is gaining a new identity. Therefore the readers shouldn’t judge this picture as something bad, even the noble was pleased. The painter created a new picture on his own (without any clear order from the seme) although it has become clear that the aristocrat no longer needs the pictures. For Seungho, it represented a huge step because the picture was bigger and more detailed than the former ones. He saw as a improvement of their relationship. Sure the artist had another reason for this picture. It was an attempt to be perceived as a painter and not just as a prostitute. But like I wrote in another analysis (Drawings and emotions, part 1), each picture reveals the commoner’s emotions and state of mind: a painter and a whore, yet he has eyes now. He is no longer denying his homosexuality.

That’s why I would like to conclude this essay with the following advice. Despise the pain and the sadness, try to notice the positive details in the future because so far in each chapter of the second season, I could perceive a progression, although the painter doesn’t feel like it. It is part of a painful process: maturing is never painless. The moment he will lose his innocence for good, he will become a man and will be able to face adversity. He just needs a guide to help him to go through this phases. Unlike Candide who had to find his dream in life on his own, Yoon Seungho will be by the painter’s side to protect him and give him a new goal in life. They both save each other.

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Painter Of The Night: Drawings and emotions (part 3) 🎨

This is where you can read the manhwa. But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:

It would be great if you could make some donations/sponsoring:  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

In the second part, I explained how the weather, the season and the landscape represented the painter’s state of mind and emotions (agony, emptiness). Now, it is time to focus on the time and the moon. Why? First, the title of this manhwa is “Painter Of The Night” indicating that the time has its importance. With night, we associate the moon and as for the day the sun. So I looked for the images with the moon in it. Thanks to the help of my followers, I could gather all the drawings where the moon was displayed. Before showing them in their chronology so that we can figure out if the drawings with the moon have a deeper meaning like the weather and the season, I have to say that if I analysed each picture separately, my interpretation would diverge each time, yet my goal is to find an explication valid for all the pictures illustrating the moon. Let me give you an example.

episode 1 Here, the full moon seems so far away, Yoon Seungho’s mansion is almost illustrated in its entity. My first thought was that the full moon personified Baek Na-Kyum and the latter is so far away from the powerful noble as they have not met yet. The sky is so dark (almost black) due to the light glowing of the moon. It was as if the noble’s world was full of darkness and his future meeting with the painter represents his only joy and hope in life. He is so eager to have the painter by his side and to have the artist painted for him. The mansion is so big, indicating his wealth and power, however it feels so big and empty at the same time. It was as if his domain was not a real home. The light coming through the windows doesn’t exude warmth, the beholder feels a certain coldness as there is nobody outside the building. So this image could be judged as an illustration of the main lead’s world: dark, cold, empty, lonely and lifeless.

But with this interpretation, I have some problem, when it comes to the picture from the episode 13. First, why is this a crescent moon unlike in the first image? Did the painter lose something hence he is no longer complete? Secondly, there is no building and the moon seems to glow stronger as the sky is lighter. If the moon is the painter and the sky Seungho’s world, how come that the moon is glowing stronger because even if the painter had felt excited before, he was still resisting the noble’s advances and attraction? Furthermore, in this chapter he is threatened by the master. Then we see no mansion, while we saw the roof in the image from the chapter 4. Why is there no building portrayed here? That’s why I saw it as a necessity to find an explanation that would fit to all the pictures. Hence I would like to show all the images in their chronology so that we can figure out if the drawings with the moon have a deeper meaning like the weather and the season.

episode 1

episode 4 (the end)

episode 13

episode 25

episode 32

episode 34

episode 43

episode 43

episode 46

The first thing people would pay attention to is the form of the moon: full or crescent moon and try to recognize if there is an evolution. But as you can see, the full moon is only in the first chapter, the episode 34 and the episode 43. So on the surface, we can’t see any progression. Honestly, I had to ponder a very long time before coming up with a solution. Like always, I would like to repeat that this is my own interpretation and anyone is more than welcome to think differently. Now, you are wondering about my theory.

Let me explain how I came up with this. What caught my attention is that Jung In-Hun is never meeting the painter during the night. In the chapters 19 and 24, it was sunset and rather early evening as they were on their way back to the mansion. We could even say that the scholar has always met the low-born during the day (chapter 7, 10, 22, 29, 35, 38, 40). Hence I came to associate the scholar to the sun which led me to the next thought. If the sun represents Jung In-Hun, then the moon must symbolize the main lead Yoon Seungho. Let’s not forget that this manhwa is entitled: Painter Of The Night. In other words, this could be seen as a synonym for “Painter of Yoon Seungho”. Furthermore I had already linked the main lead to an eagle, so the moon with the dark sky are elements embodying him.

I also observed two details before the form of the moon: its distance and the color of the sky. In the first picture, the sky is so black indicating that Seungho is not really living, while the moon shines so far away. Hence we could comment that the lord is so far away from people that he lives detached from everything. That’s why he has no pangs of conscience, when he announces that someone might die if the painter rejects his offer. I often compared him to a zombie due to his passivity. The night is the only time when he appears to be really active in the beginning. Notice that he meets the painter for the first time during the night(chapter 1), then he asked the artist to paint the next night. In my opinion, Yoon Seungho didn’t interact much with people during the day, as he was rather smoking and looking through his window. Therefore his appearance at Lee Jihwa’s mansion was something extraordinary. He couldn’t even wait for the next night which the red-haired noticed. Let’s not forget that this man is suffering from insomnia so he can’t sleep during the night. That’s why I have the impression that the moon and the dark sky are personifying the protagonist.

The other element is the distance of the moon. It seems to get closer (episode 4, 13) but then the distance increases again in the chapter 25. This coincides with his relationship with the painter, the closer he gets to the artist, the closer the moon shines in the drawings. Since the rape occurs in the chapter 25, it is normal that the moon is so distanced. That’s why in the chapter 46, we can observe the peak of their own intimacy. (chapter 46) This fits their actual situation. The lord heard a sort of confession and now the painter is not allowed to eat with the servants. His status has been elevated. However one might object to this conclusion because of the full moon in the chapter 43. Here the satellite seems to be further away, yet they are sleeping together. I can refute this argument because of the presence of the building. Here, the pavilion belongs to another noble hence the moon and the sky looks darker. The color of the sky mirrors the main lead’s feelings. He feels nothing for Jihwa and the other aristocrats, nevertheless, his affection keeps increasing from the chapter 4 and 13. [By the way, I doubt that in this picture above the building belongs to Yoon Seungho. For me, it could be a building in the street, while Jihwa is on his way to his friend, the aristocrat with the mole.] Even in the chapter 25, the sky is not so dark compared to the one from the chapter 1. We know that despite the rape, the lord was already in love with the painter. My thought is that while the lord is personified by the moon and the night sky, the painter is present in these drawings too. He is embodied by something as well: the mansion, especially the roof.

I came up with this idea since Bak Na-Kyum is longing for a home, for a family. In the first chapter, the mansion appears so big because Baek Na-Kyum only perceives the main character as a powerful and infamous lord. However, due to his attraction to the noble, his perception changes a little. The part of the roof becomes bigger each time, as if the artist’s place and influence were increasing. (episode 4); (episode 32);(episode 34);(episode 46)

Little by little, he starts owning more of the roof (even the walls). Observe that the snow is now covering the roof. That’s why we have the pavilion shown in his entity in the chapter 25. This represents the low-born who was raped. The building doesn’t have any wall, this is a fake house, not a real home. Yet one might argue that in the chapter 13, there was no building. So why? Remember that this is connected to the characters appearing in the chapter. In the episode 13, Jihwa enters the lord’s chamber right after this image. Baek Na-Kyum is not even present yet. However, the moon is closer and the color of the sky is lighter, blue. This illustrates the noble’s feelings and attraction to the commoner. We shouldn’t forget that during this night, he already has the intention to ask the low-born to join them in their sex session. He has already decided to taste the artist.

My other evidence that the moon and the building are personifying our main leads is the picture from the chapter 21. We never saw the moon during that night and the sky looked so bright. It was as if the moon was looking down on the building, while the noble is embracing and kissing the painter. This night was particular because it never looked like a real night… a mixture of day and night, giving the illusion of a different time. That represents the “dream”, something special is happening right now. The lord has discovered love and warmth hence the light of the moon seems warmer and closer. This was just an illusion and the reality came back in the chapter 25. However, although the moon is further away, the sky is not so dark compared to the one from the chapter 4. It is related to the growing feelings of the lord. He might have done something wrong, yet he did it because he wanted to obtain the artist’s heart believing that once he uses force, the low-born will surrender. Yet he failed with this stupid move. The forced rape created a riff between the two main leads.

Now, it is about time to explain why we have a full and crescent moon. In my opinion, this has something to do with his wishes. In the first chapter, he hears that the servant discovered the painter’s identity and he is about to get his wish fulfilled. In the chapter 34 , he has just realized that he can’t stay away from the painter, he really loves him and he can’t give him to others. It’s his “wife” hence he needs to return to Bak Na-Kyum’s side hoping that the painter might not resent him for risking his life out of selfishness (sex marathon). He granted the painter’s wish to leave his bedroom as he saw no real rejection coming from the commoner. Yoon Seungho never heard any harsh criticism after entering his bedchamber. Hence there is hope for him. On the other hand, there is this huge distance between the roof and the moon. Yoon Seungho has no idea how to reconnect with the painter after the sex marathon therefore he ponders the whole night about it. He knows what he really needs and wants and has to crack up his brain to come up with a solution. Hence during the night in the chapter 43, there is another full moon. The painter asked him to have sex together, for the lord this was as if his deepest wish had been fulfilled. They are together. But soon after he realizes that his sex sessions don’t bring him what he has been longing: love. Hence there is a crescent moon again. (chapter 46) He is missing warmth, yet the “confession” did affect the lord so much that the glow coming from the moon appears warmer. This represents the lord’s feelings, he is getting closer and closer to the painter… and to the building.

In my opinion, the artist is the “earth”, as the house symbolizes the painter. That’s why we have Jung In-Hun as the sun, since the Earth rotates around the sun. Since the sun abandoned the Earth, the painter’s heart is frozen. For Yoon Seungho is the moon, the painter was never able to notice it as it is not so visible during the day. We all know that the moon is a satellite of the Earth. Now, the painter is able to see that there is another planet circulating around him. Yoon Seungho has caught his attention, therefore he is no longer looking at the sun. In reality, Jung In-Hun is a fake sun, while Baek Na-Kyum thought, he was looking at the real sun… it was a fake source of warmth, an illusion.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: Drawings and emotions (part 2)

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

In the first part I explained the role played by the painter’s emotions and unconscious in his inspiration and creativity. Moreover I also outlined the significance of Yoon Seungho in the artist’s work after their first meeting. Due to their mutual attraction, Baek Na-Kyum was able to paint again and demonstrate his talent. We have to imagine that Baek Na-Kyum was totally exposed to physical and emotional abuse for a while as he was supposed to live with the teacher. Jung In-Hun had become his guardian because he had been bribed by the head-gisaeng. Only yesterday I came to realize why the painter could repress the bad memories about his physical abuse: The Stockholm Syndrome. And this is relevant as it explains why the artist adopted such a fear of homosexuality and even talked like the scholar. Furthermore I can even envision that this Stockholm Syndrome must have affected his hands and talent. This even reinforces my opinion about the huge impact of Yoon Seungho on our low-born. Due to his attraction to the lord and the sex session, the repressed sexual desires were unleashed so that his talent was triggered. That’s why he impressed the lord so much in the chapter 2.

However in my introduction from the first part, I had explicated that this manhwa and Art shared two points. I would like to remind that Painter Of The Night has another common denominator with drawings. The story itself is made of pictures hence they also have a huge importance. Now, this will be in the center of the analysis. I actually had this idea for a long time but wasn’t sure until the chapter 46. I saw a confirmation of my theory with the latest episode. The weather and the season correspond to the artist’s state of mind.

When the teacher arrived at the mansion, it was sunny and warm. Nevertheless it started to rain the moment the teacher discovered the existence of the deal between the powerful noble and his former pupil. Imagine the rain followed with thunder represented Baek Na-Kyum’s tears and heartache because of the teacher’s rejection symbolized by the hand. This simple gesture, where the low noble used no strength, was so powerful because of the Stockholm Syndrome. Since the rain embodies the tears and the agony the thunder, I couldn’t restrain myself connecting it to the Surrealism once again as nature is often used as a representative of the unconscious and the state of mind.

“Surrealist imagery is probably the most recognizable element of the movement, yet it is also the most elusive to categorize and define. Each artist relied on their own recurring motifs arisen through their dreams or/and unconscious mind. At its basic, the imagery is outlandish, perplexing, and even uncanny, as it is meant to jolt the viewer out of their comforting assumptions. Nature, however, is the most frequent imagery: Max Ernst was obsessed with birds and had a bird alter ego, Salvador Dalí’s works often include ants or eggs, and Joan Miró relied strongly on vague biomorphic imagery.”

The weather is a representation of the painter’s emotions and unconscious, however Byeonduck is the creator of these drawings and not the painter himself like in the Surrealism. In this Art movement, the painter attempted to unlock their own unconscious and reveal their dreams and fears unpolluted by society and their conscious mind.

But let’s go back to the season and weather. Then in the chapter 44, we witness a snow fall. It was as if the snow embodied the artist’s tears once again, yet this time the real pain is no longer existing because his heart has turned cold. He feels nothing at all hence he has no problem to ask the butler Kim to throw away the painting. The more fall and winter are approaching, the more the painter’s relationship with Jung In-Hun deteriorates. In the chapter 35, the painter is definitely hurt by the low noble’s gesture, when the latter closes the mansion door right in front of him. This coincides with the fire where the fallen leaves are burnt. The caress on the cheek equivocates to the fire, the last real warm gesture the painter received from his teacher. In the chapter 38, the artist no longer falls for the teacher’s fake stroke thereby he is able to lie to Jung In-Hun. Because of this, I came to the following interpretation. The landscape with the snow embodies Baek Na-Kyum’s actual state of mind and emotions. It was as if his heart was frozen consequently he feels nothing. However, the presence of the snowmen illustrates his innocence and his longing for companionship. He wished deep down that he wasn’t alone and had someone by his side. Yet, the painter has no idea about it. Now, you can understand why I connected Byeonduck’s drawings to the Surrealism. Sure, this is my own interpretation and nothing more. The weather and the seasons are following the same evolution than the painter’s transformation. Little by little, he starts losing his admiration for the scholar which ends with the real separation. He has been so hurt that he is like an empty shell. But there is one difference from the past. This time, Baek Na-Kyum was the one who cut definitely ties with the scholar hence the double-faced man has no idea that he can no longer use the painter as his tool.In the past, the jealous aristocrat could push him away but the painter never resented his admired sir and accepted that the teacher would return to his side without questioning his motivation behind his smiles and strokes. He had been abandoned once, hence he became a drunk. However, the painter had no grudge hence he fell for Yoon Seungho’s lie in the chapter 7. It was the same in the chapter 24, when the scholar took him and pushed him against the wall.So far he had avoided the painter, yet he needed him again. At no moment, the artist rejected the man’s advances (kiss on the hand, his head on his shoulder). The low-born always forgave the low noble.

Yet, after the chapter 44, the artist will refuse to acknowledge his relationship with Jung In-Hun, since he is just a whore and the scholar doesn’t want to be associated with him. Now, the manhwaphiles can comprehend why once I saw the landscape with snow and the snowmen, I recognized it as a confirmation for linking the weather to the painter’s emotions and state of mind. With just the rain, it wasn’t enough.

Since Baek Na-Kyum’s heart is cold and lifeless, his words said to the lord in the chapter 46 have a huge significance now. It was as if the painter was coming back to life, the noble’s warmth has finally reached his heart through his body. Consequently, the spring will announce the beginning of their real relationship, the growing love between our two protagonists.

But the rain and the snow play another role, influenced by Asian and Korean belief. The rain falling on a wedding day is perceived as a good sign for married couples, their relationship will last which coincides with our protagonists’ “Wedding night” hence Byeonduck chose to show the rain falling on the room where the couple was as the final image of the episode 21. Then we have the first falling snow witnessed by Baek Na-Kyum and Yoon Seungho. This is quite important as the Korean tradition says that if you watch the first falling snow with your loved one, this is your true love.

That’s it for today. Tomorrow the essay will be a continuation of this analysis. I’ll keep examining Byeonduck’s drawings under a different aspect. Just to let you know: this is the work of 3 hours. Gathering the pictures as illustration takes a long time as much as writing.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: Drawings and emotions (part 1)

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

What have paintings and manhwas in common? Both are images drawn by creators. However, in this manhwa, paintings are in the center of the story too thereby we could say that we have two art of drawings in Painter Of The Night: the work created by the protagonist Baek Na-Kyum and the drawings made by Byeonduck.

In one of my former analyses, I had explained that each painting made by the low-born reflected his state of mind and emotions.I could mention for example the first image that the innocent man did.

Here the painter revealed how attracted he was to Yoon Seungho so that the noble was painted looking at him. This gaze turned towards the artist unveiled how the painter wished to be desired by the powerful aristocrat. Simultaneously he was revealing the lord’s fascination for him. The reason why I write that this represented the commoner’s unconscious is based on the wet dream we saw while Baek Na-Kyum was drawing. Furthermore the huge distance between Jihwa and Yoon Seungho could be explained that the artist wished, he had joined the lord and put himself between the main lead and the red-haired man. Remember that he wanted to take the sex partner’s place. As you can see, the first painting displayed a lot the painter’s unconscious, his sexual desires that’s why he had to destroy it. The image represented a proof of his homosexuality. In other words, the first drawing let the noble perceive the painter’s emotions and feelings hence he felt his own attraction. Therefore he could liberate himself from his negative image he had of himself.

In Art history, there is a movement called Expressionism where the painters wanted to exteriorize their emotions and their thoughts. This Art movement, inspired by the Impressionism (for more info, read my analysis about the difficult life of painters). This Art movement started in Germany at the beginning of the 20th Century. The artists used vivid and shocking colors and even abstract forms to illustrate their thoughts and emotions, as they were not interested in representing the reality. I chose this one as illustration.

Le Nun de Otto Dix (1891-1969, Germany) | |
The Nun, by Otto Dix 1914

As you can observe, the black is the dominant color, combined with red and green. It exudes a very pessimistic atmosphere. The common denominator of Expressionistic pictures is the rather dark and angsty attitude. It indicates Otto Dix’s negative attitude towards Church and religion. First, the Church forces the nun to deny her own femininity (see the woman on the side stroking her belly), as she is not allowed to have a child. My interpretation is the following: It was as if the veil was the cause of the woman’s decay. She was somehow rotting because she can’t live like a normal human being. We have to remember that in this period, the painters sensed that something terrible would happen and they were not wrong as 1914 marked the beginning of World War I. Because of industrialization and imperialism, there was a lot of tension between European countries. The new inventions didn’t just bring progress, the scientists were also asked to develop new weapons. From cars, German invented the first tanks, submarines and even gaz bombs which would be used during World War I. I could also add another image as illustration, the famous painting from Edvard Munch, called the Scream that is often chosen as the representative of Expressionism:

ANALYSE] Le Cri, Edvard Munch

Here, again the beholder can sense the despair, the fear and negative attitude. The painter’s emotions and thoughts were influenced by their society. My point is that the paintings created by Baek Na-Kyum are somehow reflecting his emotions too. Even Seungho used a similar expression to describe the following picture: The word “vivid” is definitely characteristic for Expressionism. That’s why I connected the artist’s work with the Expressionism. Sure, the low-born lives in a different period, the industrialization had not reached Joseon yet. However, it is pretty obvious that the painter’s creations are strongly influenced by his emotions and state of mind.

But I would even go further. The painter’s inspiration is also related to his unconscious, his dreams and desires. In my analysis about the chapter 46, I explicated that the painter wished to be the teacher’s lover hence his mother sent him away and asked his admired sir to take care of him. Since all the books were motivated by his love for the learned sir, the nobles could already sense the painter’s emotions and desires in these erotic pictures. Sodomy was portrayed as something natural and lovely. This explains the painter’s popularity and why the main lead became addicted. Because of this observation, I couldn’t help myself connecting this to another Art movement from the 20th Century called Surrealism.

“The Surrealists sought to channel the unconscious as a means to unlock the power of the imagination. Disdaining rationalism and literary realism, and powerfully influenced by psychoanalysis, the Surrealists believed the rational mind repressed the power of the imagination, weighing it down with taboos.”

L'Œuvre à la Loupe : La Persistance de la Mémoire de Dalí - Le ...
Salvador Dali: The persistence of Memory 1931

As you can detect, Baek Na-Kyum’s work and the surrealism share something in common: the fight against taboos, the influence of the unconscious as a source of inspiration.

We saw how the painter had wet dreams and I used the psychoanalysis to interpret the painter’s dreams. His unconscious played a huge role in his creations, especially the first one. In my opinion, the artist had also stopped painting because the teacher had destroyed so many emotions and repressed so much his sexual desires that he could no longer produce anything. Even Yoon Seungho wondered if the painter could produce something right away and imagined that he must have lost his talents as he didn’t work for a long time. Nevertheless, the artist was able to create a really good painting right after his first sex session because the noble’s charisma did trigger his unconscious. Now, the manhwaphiles can comprehend the huge significance of the noble in the painter’s creativity.

However, the painter is facing an identity crisis. He has the impression that he is just a whore, at the same time his status is very ambiguous. He is no servant since he is wearing expensive clothes and eats fine dishes. Furthermore he is no longer allowed to work and eat in the kitchen with the staff. He has a bed reserved for a master, his study is next to the lord’s chamber. But he is not wearing any topknot, therefore he can not be considered as a master after all. Furthermore, the abandonment caused by Jung In-Hun ruined the painter’s inspiration and creativity, although the low-born already has slept with Yoon Seungho many times. Yet, what we saw was just a blank paper. I believe that the painter needs to realize the lord’s affection for him, just like he needs to realize his feelings for the main lead. The ending of the last chapter insinuated that the painter was on his way to grasp his own feelings. Notice that he is questioning himself, wondering why he keeps thinking about the lord and why he reacted like that The readers can detect that he is starting to think on his own, showing that he is no longer under the teacher’s influence: this is the evidence of critical thinking, something the seme tried to initiate in the artist. For the first time, we see him reflecting on himself. As a conclusion, we see the importance and growing influence of Yoon Seungho in the painter’s life. He was the source of his inspiration and creativity right from the start, he freed him from the scholar’s brainwashing so that Baek Na-Kyum could exercise his talent right away. That’s the reason why I was not so sad and pessimistic after reading this chapter. The main lead didn’t appear directly but through the conversation and the thoughts, he was always present. Baek Na-Kyum is a strong-willed person so that the moment he recognizes their mutual love for each other, he won’t waver due to the pressure caused by his scandalous relationship with the powerful noble. The publications showed his determination to show homosexuality as something natural and beautiful. Finally, I could reveal the importance of the painter’s emotions and unconscious in the artist’s creations.

That’s it for today. I still have more to say.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: Baek Na-Kyum’s future (part 3)

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

In the second part I explained that the painter’s last escape was the result of a spontaneous and instinctive decision. However the more he thought about his destination and his future, the more he was reminded of his past where the closest persons to him chose to push him away and cut ties with him.

While running, he got aware that he had no one he could turn to thereby his regained freedom had no more meaning. We have to imagine that for Joseon people having no roots and no relative as guardian is perceived as a terrible fate. Even nowadays in South Korea being an orphan is a huge stigma. Now consider this in the past, the stigmatization must be even stronger. This explains why Baek Na- chose to return to the mansion. What caught my attention is that he loved the brothel because of his good relationship with the gisaengs. When he was pushed away by his adoptive mother, the latter picked Jung In-Hun as his mentor and guardian. Notice that the scholar is welcoming him with open arms. So for Baek Na-Kyum, home was associated to people. In other words, the synonym for home was family. Nonetheless he was abandoned by people. That’s the reason why he decided to return to the huge property. We could say that he dropped the idea that home meant family. For him, home has a different meaning now. Home has become a place, a location where you can be protected from the most important needs (bed and food). At least he has a home where he can rest and feel protected. That’s why he says the following to the lady why he made up his mind to remain at the mansion. He can sleep and eat well, he recognizes the advantages accompanying his stay at Yoon Seungho’s mansion, furthermore he can not be abandoned like in the past. Even if the lord loses his interest in him, he could work as a servant, that’s exactly what he is thinking. His abandonment issues forced him to redefine the signification of home. As a conclusion, the painter never chose to return because of the protagonist Yoon Seungho who is perceiving him as his “bride”, although right now his status reminds us more to the one of a concubine.

Now if we compare the dishes he had before and in the chapter 46, the readers can observe an improvement in the quality. He is able to eat more refined dishes. Moreover he is no longer allowed to eat with the servants. He is definitely treated like an important guest. From my point of view, the elevation of his ambiguous status is linked to the confession he made to the lord before. I like it very much that this second misunderstanding led the seme to feel that he had got closer to the painter. Let’s not forget that the improvement of their relationship was caused by another misunderstanding, the erection in the chapter 35. The butler Kim had fed the young man with an aphrodisiac, yet the lord thought that the artist was excited due to his presence and sexiness. Strangely this kind of misunderstanding underlines the low-born’s innocence. Through these mistakes, the manhwaphiles are able to see the genuineness of the commoner. There is no scheme behind these misleading words. If you compare the way Jung In-Hun received him with open arms and smiles with the way the main lead is integrating him in his household, you can detect the huge contrast. While the former treated him so nicely right from the start, the other seems less welcoming on the surface. However, the teacher’s gesture was so fake that in the end he abandoned him without second thoughts. Baek Na-Kyum realized that. Despite oozing warmth, the scholar turned so cold and distant the moment he pushed him away. That’s why I would say that the main lead is choosing the right approach. Both need to learn to trust each other. The irony is that although the artist made the decision to return to the mansion because of the place, at the end of the chapter 46, he can’t help himself thinking about Yoon Seungho. So little by little, the place gets associated to the lord. From my point of view, the comment said by the head-maid of the kitchen did affect the painter. She was the one who pointed out that the master cared for him very much, although the noble never acted so caring in front of him.

What caught my attention in this chapter are the similarities between his departure from the brothel and departure from the mansion. While the head-gisaeng thought that sending Baek Na-Kyum away would become a good opportunity for the painter to get closer to his admired sir and the latter would even look after him, the outcome was totally different. He ended up in a worse situation as now he had no one on his side. The painter must have realized that leaving the noble did appear good on the surface, yet in the long run he would have to face a more terrible fate. Like I mentioned above, the mansion represents a shelter. In the past, leaving the brothel seemed to be a good decision for the painter’s bright future. The mother saw that the painter’s origins would become a hindrance to his career hence by asking the teacher to become his guardian would give a better reputation to the painter and help him in his career.

Because of the explanation of Baek Na-Kyum’s mother, it becomes clear that the painter had already started publishing his erotic paintings. They must have known that his work had become popular. Now I understand better why the artist had his work published under a pseudonym. It wasn’t just because of the topic but rather to hide his true origins. If people had known that he was raised at a brothel, his reputation would have been really damaged. They would have diminished his talents saying that he was inspired by the place. However thanks to the anonymity, the nobles imagined that the painter was an old man and never looked for him. Striking is that this chapter reveals the circumstances how the artist came to the teacher’s side and why he always listened to him so blindly. This is important since it portrays the true viciousness of the low noble.

From now on, my argumentation is mostly speculative as we have to fill the blanks with the few details we were given.

Based on the info we have, the low aristocrat was asked by the head-gisaeng to take care of the painter. I doubt that the teacher would have accepted the offer so willingly as we know for sure that he despises commoners. So the cause for his fake smile and welcoming attitude is quite simple. He was bought by the head-gisaeng. She must have given him some money which the lord couldn’t refuse. Now, I am suspecting that the purse we saw in the chapter 29 came from the head-gisaeng. I doubt that Yoon Seungho gave him money directly because the teacher would have never been so jealous of the artist. So maybe the teacher tried to publish a book of poetry too but was refused, while he saw the painter’s success and fame. He became so envious that he decided to ensure that the painter would stop painting.

What made me so furious while reading this chapter are we are discovering more and more Jung In-Hun’s lies. Remember what he told Yoon Seungho in the chapter 6. He only mentioned that Baek Na-Kyum was his pupil once but omitted to say that in reality he had become the painter’s guardian. Notice how he is diminishing the painter’s importance in his life. Secondly, he even admitted that he scolded the painter severely once, the moment he saw the content of the paintings. In my former analyses, I had already pointed out that this was a lie but the new element is that since he had become his adoptive father, he knew about the painter’s identity right from the start: he was the famous painter publishing under a pseudonym. From my point of view, the painter was inspired by his love for the teacher hence his work was so lewd and was oozing love and warmth. Remember that people keep wondering how he could create such paintings. The low noble is the origin for the publications. Now, you can better understand why the artist has lost his inspiration. That’s why he could create such a nice picture of Jung In-Hun’s inauguration and the pictures of Seungho with the painter lacked details and passion. This doesn’t surprise us that the painter is not really motivated and creative. For that he needs to fall in love with the master for real. We see a progression in that sense. First, he dreamed of sex with him, so his unconscious was telling him that he was attracted to him. Now he is even awake and remembers their sex sessions which arouse him. He could ejaculate because he sensed that lord was making love to him, when he kissed and embraced him. That’s why we are the witness of the painter’s transformation, how the lord will become his new inspiration and this will enhance his talents. That’s why Yoon Seungho’s place will become the true home of the painter: a place to rest and eat but at the same time, where he will fall in love again and become more inspired and creative than before.

That’s it for today. I have still more to say … but I can’t write for hours at my parents’ home.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: Baek Na-Kyum’s future (part 2)

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

In the first part I described how the painter was affected by the abandonment thereby he lost his dream and even his passion for painting. He claims that he likes painting, yet he is not able to paint anything once alone. I also pointed out that the artist was more living in the moment as he was too embarrassed by his actual situation. The problem is that the low-born views himself as a prostitute but wished deep down he was treated like a servant so that his special relationship with the master wouldn’t be too obvious. The final observation is his acceptance of Deok-Jae’s criticism revealing his low self-esteem. At no moment he defended himself.

However there’s one thing I didn’t comment in the first part, the future role played by Deok-Jae. Although the head-servant told Baek Na-Kyum the reason behind the domestic’s disregard and harshness, I believe that the painter is not capable the scope of the servant’s jealousy and its consequences. From my point of view, the servant will serve as a tool in Baek Na-Kyum’s growth. Through Deok-Jae’s betrayal the painter will realize that the teacher’s harsh words and abandonment were caused by jealousy and were not reflecting the truth. That’s the moment the scholar will have no influence any longer on the artist.

Right now, the manhwaphiles detect that the painter has accepted the teacher’s reprimand and contempt as he considers himself as a whore. Nevertheless even in this chapter I perceive a small change in the low-born. Little by little, he’s expressing himself better. The sentences might still contain some pause, yet his sentences are much longer. Besides he is able to explain why he is no longer trying to run away. The fact that he confided to her about his final attempt and his change of mind indicates a certain emancipation from the terrible surrogate father.

What caught my attention in the episode 46 is his escape and as such the following picture. We have Baek Na-Kyum standing in front of the mansion door. Yes, this image confirms my interpretation about the symbolism of the door. The painter’s situation is always reflected through the door. First, the foot print on the snow left by him outlines his loneliness. Now he’s on his own. The teacher is no longer by his side. Nonetheless his foot print is regular hence we can say that Baek Na-Kyum was resolute in his decision. There is no hesitation based on the foot print.

But now what’s so different from before? For the first time, we see the painter opening the door himself voluntarily. If you compare it to the past pictures with the door, you’ll note that the door was most of the time opened by someone else (chapter 4: Seungho; chapter 16: by an unknown servant; chapter 19: Seungho , although here the low-born hallucinated that it was the scholar; episode 29: Jung In-Hun led him back; chapter 34: Seungho; chapter 35 the teacher closed the door in front of the commoner, chapter 41 Seungho again but this time the door is left open). In only one case, we witnessed him opening the door but here he had been forced to enter the lord’s chamber due to the protagonist’s thread. At no moment Byeonduck showed us the painter opening himself the door because he really wanted it. When he escaped in the chapter 29, he only appears in the street meeting the teacher. Moreover, Baek Na-Kyum stood either in front of the door or behind it. I would say that this characterizes the painter’s lack of freedom and passivity. He was never master of his own destiny. This is important because the image from the chapter 46 illustrates the artist’s determination to escape but simultaneously the acceptance of his own sexual orientation. He is no longer hiding it but the fact that the man just opens the door slightly indicates a certain discomfort and embarrassment. For me the positive aspect is that he acts on his own, he is no longer forced to hide or admit his homosexuality or to stay at the mansion. He chose to leave and this was his first true choice for a very long time. In the beginning he was dragged to the mansion, then he was stopped by Yoon Seungho in the chapter 4. Later he was persuaded to return by the fake scholar. He never had the freedom to choose for himself therefore we never saw him opening the door himself willingly. Therefore you can understand why I am not so sad despite the sorrow exuding from the chapter 46. Here he shows a strong will like he did in the past, when he was courageous enough to defy and even criticize the lord.

If we look at the drawings used to display his flee, we’ll notice two things. First, the author zooms on the painter’s feet for the first time. We had images focusing on the hand or the gaze but never on the feet. This is no random, Byeonduck wanted to tell us something through the zoom on the feet. The second relevant detail is the chronology of the drawings. First, she pays attention to the painer’s feet, then to his head with his thoughts. The alternation between images of the feet and the artist’s thoughts exhibits the instinctive decision of the painter. He might be resolute, yet his feet are guiding him. He is just following his intuition and this is something more spontaneous than a well planned escape. It was as if his feet were carrying him somewhere else. Notice that first his mind is associated to black insinuating that his mind was blank. He couldn’t really ponder about this decision. This sudden and instinctive decision lets him run away. However, while his feet are leading him away from Yoon Seungho’s home, he realizes that he needs to find a shelter. Only then he starts thinking deeply about his destination. That’s the reason why he slows down as the more he ponders, the more he gets aware that he has no place where he could find a shelter. He is truly alone. That’s why he stops in the street. This represents his ultimate escape and his resignation. He feels abandoned without a home. Striking is that there is no door stopping him. Although he is free, he has the impression that he is still “imprisoned” as he has no home where he can seek refuge. The author revealed through the choice of the images that Baek Na-Kyum made the decision to leave because of his instincts. Nevertheless, this flee ended with the heartbreaking realization that either his mother or the teacher had abandoned him for good.

Now, if we pay attention to the thoughts the painter had while running away, the manhwaphiles can observe a certain progression. The memories are slowly coming back to his mind. First he thinks about the brothel where he was raised, yet it is a just a black picture too. Then the last words spoken by the head-gisaeng resurface which triggers in him the memory of his adoptive mother’s gesture, the caress on his cheek, while he is crying. This is quite important because it is the pain that Baek Na-Kyum remembers the most. Her words did hurt him deeply, though she was imaging that she was acting for her son’s best interests. Since the mother asked Jung In-Hun to take care of him, the artist is also reminded of the scholar. The pain leads him to the surrogate father abandoning him. That’s why he stops walking. His feet can’t carry him any longer as he is in agony. It was as if he was paralyzed. The past determined his future, he couldn’t dream of being free as he was homeless and alone. He prefers having a home rather being on his own. The loneliness is a terrible burden for him. He is a social person hence he made two snowmen and not just one.

Later he remembers how Seungho is affecting him. For the first time, he perceives the lord in a different light. He remembers the man kissing and hugging him full of passion, deep down he sensed that the lord wasn’t just having sex with him but was making love to him. As much as the past affected him and his escape, it does have a positive effect. He might have resigned initially but he is now turning his mind and eyes towards the master. This is a good change and this will alter his future.

That’s it for today. I have still two essays to write about this chapter.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: Baek Na-Kyum’s future (part 1)

This is where you can read the manhwa.  But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

Funny is that on the same day of the release of the chapter 46, I posted my essay titled “Dreams” and explained that Baek Na-Kyum had no dream any longer, meaning that he had no goal in life. The chapter 46 mirrors this interpretation, as it’s in the center of the focus in this chapter. The episode 46 questions the painter’s future, but this time it is from the artist’s perspective: « What am I going to do and where am I going to live? »

What caught my attention is that in this chapter the chronology is out of order. We have past, present and future all together. This mixture of different timelines in the same scene is relevant for different reasons. First it outlines the confused painter’s state of mind. Secondly it characterizes the importance of the past altering the present and future. It illustrates how the past affects the protagonist so much so that his future changes. Moreover this irregularity of the timeline shows the change in the relationship between the characters. But now it’s time to analyze closer the chapter.

First we see the artist playing with the snow by building snowmen ⛄️. This gesture illustrates the low-born’s innocence. He still hasn’t left his childhood behind. Sure, he wanted to help the servants in the first place but he wasn’t allowed. The head servant of the kitchen asked him to play but fact is that he was the one who chose such an occupation. There’s still innocence in him despite the pain and the experienced abandonment.

Besides, notice that building a snowman is related to drawing. This illustrates the artist’s creativity and how important painting means to him. He needs to create something with his hands. Striking is that he is also building two snowmen and not just one. This could be random but I feel that since there is no such coincidence in Byeonduck’s work, this could be perceived as the low-born’s unconscious wish of companionship. He feels lonely, however he desires to have someone by his side.

Now, if we pay a closer look at one snowman, we’ll notice that it reflects the artist’s inner feelings. The face expresses mixed feelings, since the eyes are expressing a certain sadness, while there is a glimpse of a smile on the mouth. The painter’s heartache has not completely disappeared, but the agony has diminished. The size of the eyes is quite interesting. The logical explication is that Baek Na-Kyum couldn’t find stones of the same size, yet I can’t help myself giving it a deeper signification. This symbolizes the transformation of Baek Na-Kyum, he is between childhood and adulthood. The small eye refers to the childhood and as such the candidness, and the bigger one to the adulthood, as he is now able to comprehend better the world and its reality (inspired by the saying getting a bigger picture). Through the bad experience (abandonment by the teacher), he is disillusioned but not to the point where he has lost his innocence definitely. That’s why I interpret that the future attempted assassination will become a real wake-up call and will mark the pivotal moment in the painter’s life. He will lose his purity for good, his worldview will change forever. Like I said before, the painter hasn’t perceived the teacher’s true personality and his real intentions behind his harsh words. He hasn’t grasped that the scholar was so jealous and envied him that he felt the need to destroy him with his words. He still thinks that what Jung In-Hun said was correct. Later, I’ll explain the reasons for this mindset. But let’s get back to the snowman.

This occupation reveals that the painter is enjoying the moment, he is more focused on the present, hence he is able to smile while creating the second snowman. He is under the influence of the Latin saying “carpe diem” (enjoy the day).This illustrates that the commoner is trying to avoid to think about his future. This doesn’t surprise us, when the servant Deok-Jae appears and destroys his work. He can’t comprehend the harshness in the domestic’s behavior and comments. He is left speechless, feels uncomfortable hence he is sweating. Notice that while the servant kept criticizing him, he never said anything to his defense. This outlines what I explained in the essay “An easy conquest”, he is not able to express himself due to the loss of his ex-mentor and guru. Furthermore, there is another reason for his silence. He somehow believes what the jealous domestic is saying. He still views himself as a low-born and even worse, as a prostitute. The fact that he wanted to stay in the backyard with the staff shows his longing to be perceived as a servant. He feels like a prostitute but he would like to be treated like a servant so that his special position would not be detected. He feels really embarrassed, when the head maid from the kitchen outlines his special status. All this displays that he feels out of place, as if he had no real belonging. He is neither a master (he has no topknot) nor a low-born. His ambiguous situation, which was portrayed in the chapter 45, is mirrored here too, yet this time it is shown how Baek Na-Kyum feels about his unclear status. He has the impression that he is a prostitute. He is already too bothered and embarrassed about his ambiguous situation that’s why he can’t think about his own future.

Because he wanted to help, the head servant understood the painter’s reasoning and feelings hence she let him stay in the backyard. On the other hand, she couldn’t allow him to work like a servant because she knew how her master would have reacted to this situation. She had been told that the painter was no longer authorized to eat in the kitchen with the other servants. His status had been elevated by the lord. He is his partner hence he can no longer be perceived as a servant. The fact that he is no longer wearing his white headband illustrates that Seungho doesn’t recognize him as a commoner but as his lover. I would say that since he has no topknot, his status reminds me of a concubine, although it is quite obvious that for the seme, Baek Na-Kyum is his wife. From my point of view, the lord is changing his status little by little, the closer they get. Remember that there is a lack of trust between Seungho and the painter. The noble has no idea why the artist chose to give in, hence he asked in the episode 45. However I explain the sudden order from Yoon Seungho as a consequence of the “love confession” in the chapter 45. The more Baek Na-Kyum is opening up, the more Seungho is showing his true colors, intentions. But the trust is based on shaking grounds. In reality, the “I like- My lord” is a misunderstanding, on the other hand the chapter 46 reveals that Baek Na-Kyum is indeed leaning more and more on the noble, as he has no home any longer. The first reason why I associate the painter’s status to the one of a concubine is that he has no topknot like Seungho. If he had one, he could be considered as a master. Secondly, they still don’t eat together hence has the servant as companion. Finally they still don’t share the same bed during the night. They might have sex on the red and yellow bed, however they don’t sleep together during the night. Their intimacy has not reached its peak yet.

Notice that during the altercation between Deok-Jae, the head maid of the kitchen and Baek Na-Kyum, the present, past and future were here mixed, like I mentioned above. The domestic resented the painter for playing in the backyard because he had the impression that Baek Na-Kyum was showing off. In the former’s opinion, he is a low-born, nonetheless he doesn’t need to work, he can just play. The suggestion of the head maid didn’t help the artist in the end as it increased the prejudice and the resent Deok-Jae had about the favored servant. Besides, the jealous man pointed out that the “favored servant” wasn’t a master at the moment, but he could be perceived as one due the privileges the artist has. Yet the envious man was somehow making fun about this (“might”), as if this idea was so ridiculous and impossible. Notice that at no moment, the painter spoke for himself, defending his actions and his innocence indicating that what Deok-Jae said about him was how he views himself. He has such a low self-esteem. He didn’t voice one complain (even the destruction of the snowmen), he let the domestic criticize him because he even feels lower than the servants: he is indeed a prostitute. That’s why he can’t think about his future and he is not even focused on his painting too. Hence the readers saw no new painting in his bedroom. The paper is blank and the artist is focusing on masturbating. He has no inspiration, no motivation. Even the sex with Seungho is not motivating him at all. This picture symbolizes the confusion and the sense of loss of the painter. It was as if his passion for painting had been lost by the teacher’s words: he is just a prostitute. That’s why he can’t think about his own future because even in the present, he feels empty.

That’s where I would like to end this first part. I have more to say but this will be written later.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My twitter account is: @bebebisous33. Thanks for reading and the support.