My Suha: Freedom

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. Here is the link, if you are interested in more analyses about manhwas

In the American Declaration of Independence, we can read this:

“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”

As you can observe, here freedom and happiness are not only considered as the most important values in a person’s life but also strongly connected to each other. In other words, without liberty a person can’t be happy. Now you are wondering how I could associate the manhwa “My Suha” written by Chahyun with the idea of liberty. This aspect is already present in the title: “My Suha”.

1. Possession and loss of freedom

Since Suha is referring to Lee Suha, the protagonist, then it means that the main lead belongs to someone. It was, as if the character had turned into a possession and object. With this title “My Suha”, the main character becomes an item and as such loses his right of freedom. The readers are led to believe that this title is referring to Park Jiwon’s view, the other main lead, since in different chapters, he declares that Lee Suha is now his. Striking is that this picture indeed displays Suha’s loss of freedom. Not only the latter should belong to him but Park Jiwon desires to even imprison his loved one. Because he is using the idiom “cage”, Suha appears to be perceived as an animal. Because of this statement, some people might judge the second protagonist as too possessive and obsessed with Lee Suha because he is wishing the main lead to lose his freedom. But this is not really true for two reasons. First, Park Jiwoon is not the only one claiming that Lee Suha belongs to him. Many people involved in Lee Suha’s life act as if the protagonist was their possession or a tool to their disposition.

That’s the reason why I chose the picture as illustration for this essay. In the framed picture, all these persons intervened so much in the main lead’s life that Lee Suha was no longer the true ruler of his life. From the right to the left, we have Park Do-Hyeok, then president Lee, Suha’s sister Minseo, Suha’s mother and finally Park Jiwoon. Therefore in this analysis, I will examine how the meddling of these persons affected Lee Suha’s life so much that he felt the need to build a huge wall around him and kept people at a certain distance.

2. Park Do-Hyeok

Let’s start with the villain of this story, Park Do-Hyeok, the favored grandson of president Lee. What caught my attention is the way our main character was introduced to him. Suha’s mother gives her son the order to serve Do-Hyeok, although we have to remember that Do-Yeok and Suha are just high-school students. The mother requires her son to treat the grandson as his future boss, hence he has to follow him everywhere and obey Do-Hyeok’s orders. In other words, the protagonist is already treated as an adult, not allowed to argue with his mother or Park Do-Hyeok. He can’t enjoy life as a teenager and make new experiences. He can’t refuse the mother’s request because he is not even asked. He is actually receiving an order from his mother. This picture is also interesting because it shows that the mother is actually responsible for Suha’s suffering and unhappiness too. First, she didn’t even question her son if he wanted to assist Do-Hyeok. Secondly, she is the one who pushed her son to the villain’s side, unaware of the repercussion of her action.

Consequently with this introduction, the hypocrite grandson can only consider Lee Suha as a servant and even as an object. He was told to treat the teenager as his slave and dog. The young man became a boss, even before being an adult, and no one ensured that the young master was mature and responsible enough to have Suha’s life in his hands. Due to his special position, he abused his influence and power over the main lead which has never been unveiled to other characters until now. Therefore this is not surprising that Park Do-Hyeok can only consider the main character as his possession. Striking is that the framed picture displays the nature of their relationship. Park Do-Hyeok has his hand put on Suha’s shoulder. He is declaring that this young boy belongs to him now. Hence it is not surprising if he judges Lee Suha as his toy whom he can share with his friend. Consequently for him, the main lead is either just a body or a toy, but at no time a human with rights. This leads him to the belief that as the real owner, he rules over Suha’s life. In this drawing, the antagonist states that he is the one deciding about Suha’s fate and he is just letting Park Jiwoon borrowing him. Besides, when he mentions raising, he could mean that he will turn Lee Suha into a good secretary and assistant, yet in my opinion, he is implying something else. From my perspective, he is declaring that he will change the main lead and turn him into the obedient person he was in his youth: blindly following his orders. As you can observe, the antagonist has not the impression that their long separation affected Lee Suha’s status. The latter was and is still his object and his slave. Thereby “My Suha” could be also referring to Park Do-Hyeok’s thoughts. This explains why Park Do-Hyeok sent his “boy” to his friend Kim Young-Wu in the past and the latter considers the secretary as a communal property.

But how did it come to this situation? Who is responsible for Suha’s loss of freedom leading to his unhappiness?

3. President Lee

In my opinion, president Lee is to blame for all this. She started meddling in his life, the moment Suha’s family got her support. Note that she doesn’t feel any shame, when she announces herself, she will be in their life for a long time. Since the family lived at the huge mansion with the president, the mother must have felt indebted towards her benefactor hence she couldn’t reject her request. From my point of view, when the mother introduces the vicious grandson to her son, she is already acting on president Lee’s wish. Secondly, we discovers that president Lee has already determined Lee Suha’s path and future right from the beginning. She envisages that Suha will become her favorite grandson’s assistant, hence she wanted to send the young man abroad for his studies along with Park Do-Hyeok. However, the former rejected the offer because he had just been betrayed by his “boss” and lover and realized his wicked side. Strangely, the president Lee accepted his refusal but this doesn’t mean that she gave up on her plan. So with her return, she tries to send the protagonist to her grandson’s son (chapter 34).

So in her eyes, her Suha was the perfect candidate to become her grandson’s secretary. What the grandmother failed to realize is that with her choices, she led Suha to his suffering which ruined her plan in the end. She might have accepted the secretary’s rejection (chapter 34), acting as if she was respecting his decisions, nonetheless I am quite sure, she is just changing her approach. In the chapter 54, it looks like she is pressuring Park Jiwoon again to give up on Suha as his secretary, since Jiwoon’s face oozes worries. I have the feeling that she is now acting behind Suha’s back. She asked Park Jiwoon to meet her at her office and Park Do-Hyeok was present. From my perspective, she will pressure the second lead to send Suha to her favorite grandson’s office. She might even suggest an exchange of secretaries. Yoon Hui should go to Jiwoon’s side and Suha to Do-Hyeok’s. That’s why I also judge her in a negative way. Not only she is prejudiced towards Park Jiwoon, but she is also blind to her favorite grandson’s flaws.

Furthermore behind her nice comments and her support, she treats Suha like a pawn in reality. For me, she is the source of Suha’s loss of freedom and unhappiness. If she hadn’t planned to send the protagonist to her favorite grandson as an assistant, if she had never favored him in the beginning, Park Do-Hyeok wouldn’t have come to the idea that Suha was just a possession or a body existing for his personal use. Moreover, she has not been respecting Suha’s liberty, as she played a huge role in his school, studies, job and position. We could say that she has been ruling over the main lead’s life, although the latter started to keep his distance from her family at some point.

4. Lee Minseo

Then we have Minseo, Suha’s sister. She is exactly 15 years younger than her brother. We discover that the brother also has to act as her guardian, although in reality his mother should be responsible for her. Therefore he is called by the school so that he can be present for Minseo’s career counseling. What caught my attention is that Minseo requests her brother’s presence revealing their closeness. Furthermore, it truly shows that in her eyes, Suha has always been a father figure for her. Due to the huge age gap and their familial situation (a widow raising two children on her own), we can clearly perceive that since his youth, Suha had to act as a responsible man. He had to take care of Park Do-Hyeok and his sister. Therefore I come to the conclusion, he didn’t have the time at his disposal. He could never enjoy his youth and his liberty.

5. Lee Suha’s mother

As for the mother, even after leaving the huge mansion, she still lets the president Lee meddle in their life as she only sees the benefit for her son: financially and socially. I would even say that the mother is not different from president Lee too. Back then, we can understand her action (introducing the grandson as Suha’s boss) because she felt obligated towards the president for her generosity. However, when the story begins, the mother is already planning her son’s life as well. She is bothered that Lee Suha is not married yet, hence she organizes a blind date without her son’s consent. She felt the need to act behind his back as the son had already rejected the idea of a blind date. As you can detect, she is living through her son’s life, choosing what looks right for her. This is not surprising that due to her action, Suha decides to leave home and live at his best friend’s flat, Siwoo hyung.

As a first conclusion, many people meddle so much in his life that Suha had no real freedom. He realized all this after getting betrayed by Park Do-Hyeok who used his feelings and his position to force Suha to have sex with another man, the vicious and brutal Kim Young-Wu. I believe, Suha’s fear of having a serious relationship isn’t just the result of Do-Hyeok’s betrayal and emotional abuse. For me, it is also related to his loss of freedom. He has already sensed that relationships could become a burden and even restrain his liberty, hence he is determined not to get attached to someone, out of fear that this person might “imprison” him because the partner meddles in his life.

6. Park Jiwoon’s transformation and its impact on Lee Suha

While reading the manhwa, it becomes clear that Park Jiwoon has always loved Suha but he could never get close to him due to president Lee’s intervention. Hence he chose to watch him from afar. Yet, remember that I started this essay with a picture of Park Jiwoon declaring that Suha would belong to him. Yet, this drawing doesn’t truly mirror his behavior in the story. In fact, Park Jiwoon’s attitude diverges so much from all the other characters related to the framed picture. First, the manhwalover witnesses his transformation, while there is no character growth in the president Lee, Park Do-Hyeok and Suha’s mother. All of them still considers Suha as their object, he can’t make any choice in his life.

First, the black-haired appears to be selfish and possessive as well. When the director decides to have sex with his secretary at his office, he is not really asking for his permission.Imagine, that they almost get caught which scares the protagonist. Strangely, the director Choi Jeong-Min, who belongs to another company but works with Park Jiwoon due to a project, reminds Park Jiwoon that he should not treat his secretary like that. She is even imagining that the main lead is more or less sexually harassing Suha. On two occasions, she pressures the man to respect more Suha’s life. For her, the director is pressuring his secretary to have sex with him and Suha has no real choice. He can’t refuse to have sex with him due to their respective position. Park Jiwoon is Suha’s chief. And her words leave such an impression that Park Jiwoon decides to listen to her words so that he starts distancing himself from Suha. Because of his reaction, the main lead feels the need to approach Park Jiwoon on his own, he is longing for sex and warmth. In other words, Suha makes the decision that he wants to maintain his physical relationship with him. The more time passes on, the more the second main lead allows Suha to make his own decisions. In other words, Park Jiwoon is actually the one who always gives Suha the liberty to choose. The latter is the one determining the evolution of their relationship. In this scene, the black-haired man accepts that they are not dating, they have just a physical relationship, although he has just confessed that he likes Suha very much. In the chapter 49, he gives the protagonist free reins in their relationship. As you can observe, the more their relationship deepens, the more Jiwoon gives him liberty that’s the reason why Suha can only fall more and more for him. Simultaneously he can open up as well. For example, he invites his boss at his flat which he has never done before. At the end, he is willing to accept Jiwoon’s love confession and to get committed to their relationship. This explains why Suha gets more and more happy because thanks to Jiwoon, he rediscovers freedom and can finally breathe. As a conclusion, Jiwon’s love helps the main lead to discover that relationship and freedom don’t represent a contradiction. In fact, love is liberating him. Thanks to Park Jiwoon, Suha is slowly forgetting his traumatic past. When Jiwoon declares this , he is showing that love is motivating him to give everything to his partner. This stands in opposition to Park Do-Hyeok’s request. The latter used Suha’s love for him to require from Suha to give him what he wants: This explains why Suha didn’t want to fall in love after his first bad experience. For him, relationship and love were just an excuse to restrain his liberty and make him miserable. And because of Jiwoon’s love confession, Suha is freed from the past. He remembers Do-Hyeok’s words, making him realize how selfish and vicious the young man was. On the other hand, the protagonist can enjoy more his life thanks to Jiwoon’s affection and regain the liberty he lost due to president Lee. Yet, his struggle is not over, because like I mentioned above, I am quite sure that president Lee is still determined to have Suha worked as Do-Hyeok’s secretary. That’s why I believe that Suha will have to become more firm in front of president Lee and even starts defending his lover, as he has already witnessed how biased her view is about her second grandchild.

As a conclusion, love is indeed liberating the main lead so that he becomes more and more happy, confirming that freedom and happiness are truly intertwined, just like the Declaration of Independence pointed it out.

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-Twitter-Instagram-tumblr account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: Paintings (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:

In the chapter 54, the manhwalovers discover Yoon Seungho’s biggest fears: the loss of the painter and his own reflection. When he sees this scene, he has the impression to see himself. Notice that the clothes and positions of the painter and the noble are quite similar. .

What caught my attention is the painter’s gaze. Due to the alcohol and opium, his eyes are looking in the void. The glance oozes passivity, disorientation and emptiness. It’s as if he had turned into a ghost or empty shell due to the lost gaze. Therefore the protagonist gets shocked and scared because he has the impression, not only he’s turning his loved one into the image he detests the most but also the painter reflects his own gaze from the past, when he got gangraped [based on my theory]. This scene reminds him of his own trauma hence he can only get paralyzed for one moment.

Because of that void gaze, I couldn’t help myself connecting it to the first painting Baek Na-Kyum made for the lord. Back then, the lord got surprised and pleased with the drawing because he saw the vividness of his own gaze. He saw desires, beauty and attraction therefore he could finally see that he was alive and even desirable. That’s why he was finally able to enjoy sex for the first time at the pavilion. With the first painting, Seungho was able to see his own reflection, a proof of his life. This outlines how big his trauma is that he fears to confront himself in a mirror. You might argue that he used a mirror during the sex marathon and as such could view his own image. However there was the painter between him and the mirror. Secondly, his gaze was always focused on his sex partner and his facial expressions. As a conclusion, he never looked at his own gaze and reflection the whole time.

Since the painting assisted the lord to behold his own reflection, then his desire to have the painter worked for him became much more important. From my point of view, the pictures became vital as they helped the protagonist to see himself as a man and not as a spirit. Because of this observation, this made me realize what the damage of the second drawing meant. Due to the water, Seungho’s facial expressions and his gaze were destroyed. Jihwa’s petty action had a devastating effect on Yoon Seungho. It was, as if he had been personally attacked. Someone wanted to erase the evidence of his life. No wonder that Yoon Seungho went totally berserk, when he saw the painting ruined. In another analysis, I had explained that the images produced by Baek Na-Kyum revealed the painter’s state of mind but also mirrored the evolution of his relationship with the lord. Since I know now that the lord has only viewed himself as a spirit during the first season and finally changed his mind in the chapter 49 to let the body lead his life, I underestimated the importance of the paintings for the noble.

Therefore I come to the following conclusion. The paintings kept serving as a mirror for the lord, even after the first drawing. His emancipation in the chapter 4 just represented the first step of his transformation. Furthermore, during their wedding night, the master tasted the sweetness of the painter’s gaze directly hence he wanted to relive it. This explains why he kissed the painter’s eye so tenderly. He treasured them for they mirrored beauty and tenderness. The positive reflection in the painter’s gaze made him feel lovable and alive. But Yoon Seungho was confronted with two issues after their wonderful night. He knew that the love confession was addressed to the scholar. The second problem was that during the first season, Baek Na-Kyum was so focused to deny his sexual orientation and had such a low self-esteem that he never drew his face properly which bothered the noble extremely. He desired to see his own reflection in Baek Na-Kyum’s eyes and in the drawings. Therefore the lord was annoyed with the fourth drawing not just because he had imagined that the commoner had painted their wedding night but also because he noticed the absence of the low-born’s gaze. Before the rape, he even complimented that the artist had a vivid memory. Striking is that he used the word “vivid” which is an allusion to the lively master’s gaze. Therefore I have the impression that while the lord was pleased with his own reflection, he was also annoyed that the painter had no eyes and facial expressions in the drawing. Consequently he imagined that if they had sex there and this time, the painter could remember their intercourse, then the low-born would produce a work where both gazes are viewed: vividness and admiration. But what the aristocrat failed to recognize is that he confused vividness for love. Right from the start, the protagonist had fallen in love with the painter but he didn’t get aware of it due to his inexperience and his philosophy (he is just a spirit). He had no idea that his heart had been racing for the painter. As a rational “spirit”, he explained everything with the need to see his vivid gaze in the works again. He was longing for adoration in the painter’s gaze because his need for recognition and love was so strong. As a conclusion, he was longing to experience the lovely gaze coming from the painter, a sign that he was lovable and admirable. This need implies how much he must have detested his own image that he has to look at the painter’s gaze to feel loved.

As time passed on, the purpose of the paintings became little by little obsolete as the master was now fixated on getting the painter’s heart which he never realized. In his mind, everything was related to the eyes. Now, his urge to see himself in the painter’s gaze directly was stronger than the need to have a drawing reflecting both gazes. Baek Na-Kyum’s glance had become the mirror the master could never use for real. Since he could never forget their first night and the sweetness of that gaze, he imagined that having sex would recreate these feelings and as such the glance full of admiration. Deep down he wanted to experience it again and have a painting about it. But nothing like that happened.

This explains either why he was determined to get the painter’s admiration for himself but at the same time why he is not getting aware of his feelings for the painter. If the artist was only looking at him, then he would see himself in the eyes and accept himself as a man worthy of recognition and adoration. That’s why he was more focused on the painter than on the works at the end of the first season. Besides, since the painter had spoken about admiration in his love confession, the lord got the impression that it was all about adoration and not love. Moreover, the painter had created so many like a machine, where the beholder could never feel the vividness and admiration in both gazes. Observe that in all the paintings, the faces are missing. There is no facial expression and no gaze. They just mirror sexual activities without any feeling. No wonder if the lord couldn’t appreciate them. Little by little, the painter was losing his “passion” reflecting his dying heart, while the lord lost his interest in the drawing as he was expecting to see the return of the painter’s glance full of admiration. This explicates why the lord keeps looking the painter’s face all the time. He is bothered, when the latter cries like in the chapter 42 or he is full of expectation, when he looks up at him in the chapter 49. He really hopes here to hear the “admiration” confession hence his eyes are directed the painter’s. He wants a confirmation in the painter’s gaze that he is desirable and admirable.

Now, if we look at the drawings from the second season, we will notice that while the painter is regaining his confidence and identity little by little, the lord’s gaze becomes vivid again. Slowly, the paintings are becoming more precise and oozing more and more emotions. They reflect the progression of Baek Na-Kyum’s relationship with Yoon Seungho. While he was lacking of passion in the first drawing, in the second the artist shows pleasure, yet his eyes are still close. The problem is that the lord never got to see this drawing as it was thrown away by the master, because the latter wanted to protect the low-born from Min’s vicious words. When the lord saw the first painting, he was displeased for two reasons: the feelings and his vivid gaze were missing. That’s how he realized that his intercourses with the painter meant nothing to his lover. The latter was just a machine, a prostitute and was ignoring his affection.

The painter never got to see and feel the master’s vivid gaze, which is referring to love the whole time. Yet, the noble is still ignorant about his mistake. He is still confusing vivid gaze with love. The result of all this was that the noble was deeply hurt. He even had to hear that he was still viewed as a man consumed by lust. So when he hears about the incident at the library with Jung In-Hun, he realizes he had been living an illusion. Hence he distanced himself from the painter. The irony is that Yoon Seungho didn’t get to see the second painting. If he did, he would have recognized that many things had changed. The painter is now reflecting the lord’s vivid gaze again. He has already sensed his love but he hasn’t perceived it yet as his eyes are still closed.

Because the lord had no painting to smooth his pain and he could only watch the artist from the distance during that week of debauchery, he has to rely on the painter’s gaze again. So when in the chapter 54, he hears the painter’s denial , he looks at his gaze immediately. He knows that his eyes reflect his inner thoughts and emotions. He is so transparent for the powerful main lead. Now, I can understand why Byeonduck decided to revise the following drawing since the painter’s facial expression is important to explain Yoon Seungho’s future reaction.

Here, you have two versions (Korean version/English version) of the painter’s reaction. On the left side, the gaze expresses more fear, while on the right side, he is more doubting and questioning the master. He can’t believe it that a lord would fall for him, this is not really possible in his eyes. Yoon Seungho doesn’t see any adoration in the painter’s eyes but his doubt and disbelief. The words combined with this expression wound the noble’s heart. He has been rejected again, the gaze didn’t mirror any admiration like he wished. We shouldn’t forget that before witnessing the artist’s facial expression, the author gave us a zoom on the lord’s gaze. He is even more shocked and pained with the painter’s glance than the words he has just heard.

He is also surprised as well. This outlines the importance of the painter’s eyes in the master’s life. They reflect his own image. What he sees is nothing admirable: disbelief and a certain shock. The painter is even denying him any feeling and affection. Since I discovered that the painter serves as a mirror, I came to the conclusion, the fear expressed in the Korean version reflects in reality more what the lord is seeing. As a conclusion, the shock and fright in Baek Na-Kyum’s gaze are actually more mirroring the lord’s own fears. That’s why he gets so hurt, he has the impression that Baek Na-Kyum is not only rejecting with his mouth but also with his eyes.

We shouldn’t forget that he had never liked his image, therefore he only started enjoying sex, only after seeing the reflection of his gaze in the first painting created by Baek Na-Kyum. Remember what I wrote the role played by the gaze, a philosophy developed by Jean-Paul Sartres: through the gaze of others, you perceive your own identity but it is accompanied with their judgement. That’s the reason why Yoon Seungho was a loner in reality. By not meeting people, except for sex, he avoided their eyes. This explains why he could live as a ghost for a long time. However, his meeting with the painter changed everything. He discovered a pure reflection. From that moment, he started living like a man but his mind refused to change its view: he was just a spirit. Because of the painter’s transparence,

Yoon Seungho could sense the purity in the low-born and feel cleansed. He felt somehow accepted and he didn’t see any judgement. Sure, in that scene the painter is blushing because of Jung In-Hun which annoys the master very much. Yet, he can’t argue with this as he knows that the blushing signalizes innocence and genuineness, qualities he admires and he has been missing. The low-born’s gaze and face were the reasons why Yoon Seungho fell in love but his mind never noticed it or refused to accept this. His conscious made the decision to continue living as a spirit. Hence he never noticed that his gaze, feet, hands and lips were expressing something, as if they were acting on their own.

As you can observe, the lord is so much affected by Baek Na-Kyum’s gaze that this is not surprising that at the end, he reacts so violently, when he observes the transformation of the painter’s glance. It was as if the painter was becoming the reflection of Seungho in the past. Besides, the latter can only get upset, when he observes how the artist is no longer looking at him. His eyes are not only void of any expression but also looking at another direction. This can only upset the noble. He has always longed for that gaze and now it is empty and lost. As a conclusion, the low-born’s gaze has become vital for Yoon Seungho. Without him, he can’t live properly. The explanation is simple. He is really longing for that admiration and affection in the low-born’s glance, since he had the impression that he wasn’t living before. Due to that incident, it is imaginable that the lord will avoid Baek Na-Kyum again. He will fear his gaze. On the other hand, I sense that the lord might discover the second painting and recognize that the influence of Jung In-Hun has already disappeared. The reappearance of the lord’s vivid gaze is a proof that the painter has sensed something coming from the lord. From my point of view, the manhwaphiles will witness the return of the paintings because in the second season, they play no huge role in the evolution of the story, unlike in the first season. The paintings will help the artist and the master to reconnect. Let’s not forget that Yoon Seungho felt a connection with the painter, even before meeting him for the first time, displaying how much his work meant to Yoon Seungho. The paintings will help them to discover their feelings for each other at the end.

Since I have discovered that Byeonduck uses the events from the first season as support, then we need to compare the drawings from the second season to the first’s. We had a destroyed and a damaged painting, then the third drawing was representing the lord with Jihwa. The latter had closed eyes as well. Then we have the fourth drawing that was about the masturbation where the painter had no facial expressions. Notice the similarities between the damaged paintings and the first one which was not really finished and so lacking. Then the second picture mirrors the one with Jihwa Does it mean that we will have another picture, where the lord masturbates the painter but this time, the commoner will draw his features so that the lord can detect the pleasure. The other divergence will be that this time, Baek Na-Kyum is represented with open eyes.

Since we had a painting of Jung In-Hun at the end, I am somehow expecting that the last painting represent the painter’s love for Yoon Seungho contrasting so much to the one with Jung In-Hun. In the picture, the painter would be in the center. His eyes would be directed at Yoon Seungho and the latter would look back at him. In my opinion, the final picture will contrast so much to the inauguration picture the painter produced for the low noble. This would become the ultimate symbol of their mutual love.

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: White ⚪ versus Black ⚫(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:

Thanks to the chapter 54, I was able to realize the main topic of the second season. While in the first season, Baek Na-Kyum’s mind, corrupted by Jung In-Hun’s coercive persuasion, was in the center of the story, in the second season Byeonduck chose to focus on Yoon Seungho’s heart which has been gravely damaged due to a very traumatic experience. This explains why in the first season, the author picked this image as illustration. The lord was the one who helped the painter to liberate his mind and body from the doctrine imposed by Jung In-Hun. He represents the White Mind. Thus Jung In-Hun became his enemy. Strangely, the lord has the impression that he didn’t win against the scholar, because he has not been able to get the painter’s heart. But he is wrong in the sense that Baek Na-Kyum has already realized the learned sir’s fakeness. The scholar never liked him, hence all his words and actions were fake. His mind is no longer poisoned, and became white again. On the other hand, this doesn’t mean that he has really perceived the scholar’s true personality, like the painter’s confession displayed in chapter 75: He has no idea that he has been manipulated.

Nevertheless, for the painter’s mind is free again, he can think on his own. That’s the reason why Baek Na-Kyum keeps introspecting himself and asking questions. . As you can observe, the noble with his intelligence and purity of the mind became the “hero”, although the emancipation was a very painful process. Hence the artist could only resent White Mind.

Now, we have this picture as illustration for the second season: . Because of my first observation, I came to the following conclusion. This image shows that Baek Na-Kyum will be the one assisting the lord to free his heart from the past and trauma. His heart has been poisoned, therefore he can’t love the artist properly. This interpretation explicates why in the past and in this season the lord’s actions were and are terribly wrong (rape, the forced fellatio, etc…). The corruption of his heart is the cause for all the artist’s suffering, but at the same time, the painter symbolizes his cure. And due to the kidnapping and its consequences, the lord was forced to face his own fears and traumas. That’s why I consider the night of the revelation (chapter 62-63-64) the lord’s medicine. Let’s not forget that despite all the noble’s words (chapter 62), he wasn’t able to follow his own doctrine. The next morning, Baek Na-Kyum was lying in Yoon Seungho’s bed. This scene exposes that the painter was definitely more than just a sex toy. Therefore the manhwaphiles can grasp why I associate the painter to a white heart. The commoner embodies purity, love, generosity and kindness, whereas Min as Black Heart represents corruption, hatred, greed and jealousy. Note that the more Yoon Seungho secluded himself from the nobility, the more he became tender and nice to Baek Na-Kyum. Notice that he was even considered as a reformed man by the folks in the chapter 45, as he was no longer meddling with the other aristocrats. This confirms my interpretation that nobility embodies corruption.

Now, you can comprehend why Seungho gave in to Min’s suggestion in the chapter 52 and 54. With his poisonous words and tricks, Seungho’s heart got manipulated and brought the painter to the other nobles for a sex orgy. Because of these two significations, I came to realize why Min claimed that the main lead was so easy to understand. From my point of view, Min discovered the reason for the protagonist’s extravagant behavior, when Jihwa insinuated the existence of a secret concerning Yoon Seungho’s past. (chapter 36) Min didn’t need to know what kind of trauma the lord suffered, for him it was enough to know that the lord’s heart had been terribly wounded. Because of this revelation, Min got aware of Seungho’s weakness. Back then, I was relieved that Jihwa didn’t say much but now, I perceive it differently. Min with his black heart understood the signification behind these words.

Since I call Baek Na-Kyum White Heart, the low-born has Min as his opponent, although he is not aware of this. This explicates why Min was using the painter to hurt his opponent Yoon Seungho. On the other hand, it also elucidates The Joker’s obsession and fascination for Baek Na-Kyum, as there’s the saying: opposite attracts. Therefore it becomes comprehensible why Min desired to have the low-born eliminated. (chapter 53) Black Heart had many reasons to wish his death. He sensed that he was getting obsessed with the painter. With his death, he would remove the cause of his own suffering. In other words, he recognized that Baek Na-Kyum was dangerous to him. Besides, I believe that Min had a similar perception of the painter than Jihwa’s portray of Baek Na-Kyum in chapter 43. The manhwaphiles will certainly recall his words about the artist:

(chapter 43): A witch had seduced a noble and could fool the noble.

(chapter 52): Baek Na-Kyum was consumed by lust. From my point of view, The Joker had already detected that he had not the upper hand in his relationship with Baek Na-Kyum. And when he described Jihwa in chapter 66 , this portrait was actually mirroring his own personality. He had not the courage to kill the painter himself, he needed Jihwa’s hands to do so. That’s why he convinced the second lead to hire a killer. That way, he wouldn’t become responsible for Baek Na-Kyum’s death, he wouldn’t be plagued with remorse. But his plot failed, because Nameless didn’t act in the rush. Notice that in the chapter 54, the vicious noble used the painter again in order to wound his enemy. When Black Heart started laughing and declared this,

he was mocking and humiliating Yoon Seungho out of jealousy. He wanted him to deny his love for the painter, so that the artist would see that the lord was a coward. He might have protected him in front of a servant, but among aristocrats Yoon Seungho would behave differently. However, what happened is that Baek Na-Kyum was the one who rejected the protagonist. As you can sense, this scene in chapter 54 represented the battle between two hearts: Black Heart versus White Heart. Here, the main lead was almost defeated, as the aristocrat dragged him to his bedchamber for a sex orgy. With his white heart, he was actually defending his master’s reputation, unaware that he was actually playing into his opponent’s hands, as the main character had the impression, he didn’t want to be associated to him. On the other hand, before rejecting this idea, the commoner asked the noble

Why would he beat Min like that? Why did he react like that? Notice that he was now the one asking for the motivation behind the lord’s reaction. Their role had been switched. He was now confronting the lord with his behavior, while during the sex marathon, the lord used the mirror to confront the painter with his denial. Another difference is that in chapter 54, he was pressuring the lord to question his heart and not his mind. This was the second time that he interrogated the main lead directly. The first time happened in chapter 47: , that However, in chapter 54 the noble got paralyzed. He was even left speechless. Unlike the main lead, the painter was physically and socially much weaker, hence he could never use force against his master. Because of Baek Na-Kyum’s firm denial, Yoon Seungho’s heart get wounded leading him to make a bad decision. In his eyes, he had been rejected one more time, hence he could only offer the boy to his guests. The wounds in his heart ( the straw mat beating, the seclusion , the gangrape ) explained why he kept hurting the painter over and over again. This was the result of corruption, thus I come to the conclusion that he is very similar to Jihwa. Yet the difference between them is that Jihwa kept his innocence and naivety, while the main lead turned into an adult because of this traumatic experiences (gangrape, betrayal and abandonment). Since we have two corrupted hearts (Seungho and Jihwa), it is now understandable why both have similar hallucinations. (cr. to @PrincessJihwa) They represent their fears. The red-haired aristocrat has the impression that his friend became a victim of a seducer, while the other envisions, the painter has become a prostitute and is enjoying sex with others. And my assumption that the protagonist’s illusion was mirroring his own past and trauma was finally confirmed in chapter 74. In this picture, I saw another evidence that Yoon Seungho got gangraped by older officials. This is not surprising that in that moment, he threw the bottle. It was, as if he wanted to destroy that image. And this gesture reminded me of the painter’s reaction with the mirror. In the chapter 28, he saw a vision in the mirror which he despised thereby he destroyed this image by damaging the mirror. This represented the painter’s fear.

So if we look carefully at the noble’s hallucination and judge it as a reflection of the past (which contrasts to the painter’s vision as it did represent the future), then I detect passivity and pleasure. Notice that the painter’s face is blushing indicating joy, yet this excitement is in reality induced by drug and alcohol, at the same time he is surrounded by two men. So for me, it looks like Yoon Seungho was gangraped by white-beared officials but in order to make it easier, they used opium and wine for that which explains why he didn’t resist that much. In other words, he became a victim of  drug-facilitated sexual assaults (like KO-drug). After realizing what happened, the lord felt shame and guilt, as he sensed “pleasure” and showed no resistance. That’s the typical behavior of such victims. No wonder if Yoon Seungho got shocked, when he had this hallucination. It was, as though he was seeing himself again, an image he abhorred and repressed. The vision of sex connected with pleasure and drug represented his biggest fear. This is not surprising that Yoon Seungho wanted the painter to feel and see his pleasure with the mirror so that he doesn’t develop the same feelings and thoughts (shame, guilt etc).

This would explain why Yoon Seungho decided to become a spirit and even hated his own body and image, until he saw the reflection of his own gaze in the painter’s drawing. For the first time, he perceived a different image about himself. He saw attraction and beauty in it. That’s how he could free his body at the pavilion and enjoy sex for the first time without guilt and shame. I have already stipulated that the gangrape was part of the deal made by Yoon father, thereby Yoon Seungho resents prostitution and nobility so much. In exchange for his career or survival, he sold his son to white-bearded officials.

In the first version of this essay, I had predicted that during the second season, the manhwaphiles would become the witness of another emancipation accompanied with pain and resent. And this prediction came true: the night in the shed. The first emancipation in chapter 54 corresponded to the scene in chapter 2, when the lord was confronted with his own reflection, the night in the shed made him relive the night of the first rape and the betrayal. (chapter 64), which the “loyal” butler witnessed but never revealed. (chapter 65)

And exactly like I had foreseen, the lord was the one suffering the most during the season 2, just like Baek Na-Kyum was hurting very much in the first season. However, let’s not forget that due to the painter’s resistance, the noble had to suffer as well. In other words, this was not surprising the painter got wounded as well, which we could already witness in the chapter 48-49 and 54.

Furthermore we shouldn’t forget while Seungho knew the identity of his opponent, he was still clueless about the cause of the painter’s behavior. He thought, he had to remove the scholar from the painter’s heart, while in reality the real hindrance was the influence of Jung In-Hun on the painter’s mind. Thanks to the lord’s actions, Baek Na-Kyum was no longer under the scholar’s influence, but the former has not realized yet that his heart has already been conquered. His actual situation reflects a lot Seungho’s position in the first season. Back then, the noble had no idea himself that he desired Baek Na-Kyum as his companion and “wife”. The latter acted on his instincts all the time, he thought, his mind was the trigger for all his actions, while in reality his heart had been leading him all this time. Unconsciously, he wanted to be loved by the painter, and since he has never felt loved, he had no idea how to convince the commoner. At the same time, he racked his brain to convince the painter to remain by his side. He had noticed the painter’s denial about his homosexuality, hence he used the mirror to change the commoner’s perception about himself. With his actions, the painter started seeing his learned sir in a different light, and got more and more disappointed.

Due to the association Black Heart (Min) and Black Mind (Jung In-Hun), I came to the following conclusions. We have a fight between white and black. Black Heart corrupted Jihwa’s heart, whereas the scholar poisoned the painter’s mind. This explains why the scholar’s enemy is White Mind (Yoon Seungho), while Black Heart’s enemy will be Nameless (Black Mind). From my perspective, Nameless became like that because of his traumatic past (condemned for theft twice) as well, but unlike the main protagonist, he has kept his heart pure. That’s why he was moved by the second lead’s torments. He will be the one helping Jihwa getting rid of the corruption. The purification has already started: he convinced Jihwa not to kill the painter by confronting him with reality. He made him face the brutality of a murder: (chapter 60) Yoon Seungho was able to defeat the teacher in reality and I believe, Nameless will be the one who can defeat Min too. And this prediction was confirmed with the final episode from the second season: (chapter 76). The Joker got upset, because he witnessed how Jihwa was indeed to Nameless’ words. Black Heart had to close the commoner’s mouth. As you can see, the strong link between black/white and mind/heart made me think of the yin and yang. We could say that this image represents the main characters in the manhwa: Seungho/Jihwa (black heart, white mind) and the painter/Nameless (black mind, white heart). Put together, they complete each other, they help each other to heal their wounds. At the same time, it is a fight because they need to remove from each other that poison: a process full of heartache and tears. This explains why Painter Of The Night is not a manhwa for entertainment. The manhwalovers can feel the pain of the characters. What made me smile is the following: (chapter 74) When I saw this picture, I instantly connected it to Ying and Yang. As the manhwaphiles can witness it, many of my interpretations got verified later. And if you contextualize this panel, you’ll realize the meaning of Yoon Seungho’s position. Just before, he had woken up from a nightmare, a sign that the poison from his past was coming to the surface and as such was slowly leaving his mind and heart. So by facing the painter’s face, the noble is actually taking his cure: the painter’s face is helping to find peace and get purified. From my point of view, although the main lead has ready transformed into a phoenix, the noble’s purification is not truly finished, as he hasn’t dealt with his traumatic past. None of the culprits from his past got punished… none of them met their karma!

But there is one person that I haven’t mentioned yet: Father Yoon. From my perspective, the latter is one the ultimate villains, as he is Black Heart and Black Mind simultaneously. He used his son for his own career and ambition. It is also possible that he even plotted against the king (black mind). There’s no doubt for me that he sold his son to nobles (black heart), as he knew the opponents’ weaknesses (sex with men). From my point of view, when he heard that the king was interested in his own son, Father Yoon chose to train his son as the king’s courtesan. However, the relationship between the king and the main lead didn’t go smoothly, like father Yoon had anticipated. At some point, the monarch got so enraged that he ordered a purge, which Yoon Seungho had to witness. (chapter 74). It is possible that the king heard from someone that Yoon Seungho had been asked to spy on him. Due to the purge, the main lead lost his mind, hence he was sent to the mansion. However, for the father, this incident meant that Yoon Seungho had revealed the truth. That’s why he humiliated him as a sodomite. At the same time, it helped him to maintain his good notoriety. By cutting ties with his son, he could keep his dignity (black heart). Besides, this would also explicate why Seung-Won is acting like that. (chapter 37) The latter wanted to use Yoon Seungho’s connection to get a position in the government. His heart and mind have been exposed to corruption, since he decided to live with his father. Sure, this is an interpretation based on my theories, but this would explain why father Yoon has been barely introduced, but his shadow is omnipresent. The other ultimate villain is naturally the king, since he is like a ghost in the second season. Let’s not forget my latest theory: Lord Song is in reality the king, but Yoon Seungho has not realized it yet. Since Yoon Seungho and Nameless resemble so much, I am expecting a fight between father Yoon/King and Yoon Seungho/Nameless. However, this ultimate battle won’t occur in the season 3. In my eyes, the two protagonists need to defeat Black Heart and Jung In-Hun first. Besides, both main leads have still issues with their surrogate father and mother: Kim and Noona. On the other hand, we should still expect suffering, as the main and second characters (Jihwa, Nameless) haven’t healed all their wounds.

Since Yoon Seungho could succeed and defeat Jung In-Hun in the second season, I am expecting that Nameless will also defeat Min in the sense that he will make sure that Jihwa is no longer in contact with him. Let’s not forget that Min is looking down on commoners, hence he doesn’t expect any danger coming from Nameless. He initially believed that threatening him with a death sentence would scare the commoner: (chapter 76). The reality was The Joker got more furious and glared at Black Heart. From my point of view, Min’s weakness will be the painter. I have always said that Min could understand the powerful protagonist so well, as he had the impression that they were similar. However, he is wrong, it is just that he envied the alpha so much that he started copying him: the clothes, the sex orgies, the erotic publications, the opium etc. He mixed up cause and consequence. And in chapter 76, the readers can already sense Min’s downfall: he vomits due to the abuse of opium. In order to appear calm and normal, he gives a fake explanation about his nausea. For me, there’s no doubt that Black Heart got so upset and jealous, when he witnessed this embrace: The lord proved to Min that he was brave. He felt no discomfort and shame, when he hugged the commoner in front of people. Black Heart’s mockery from chapter 54 has become now inefficient. And Min’s words clearly proves to me that during the night of the gangrape (52-53-54), The Joker was determined to ruin the relationship between Yoon Seungho and Baek Na-Kyum, so that the latter would live the mansion. But he failed, just like he didn’t succeed in chapter 66 as well.

The manhwaphiles should remember that Black Heart is getting more and more interested in Baek Na-Kyum, because he is slowly recognizing that the painter is different. In chapter 52, he still had the impression that the painter was just like any other commoner: they would sell their body in exchange for clothes or better life conditions. Yet, I suspect that the painter’s words in the chapter 53/54 made the vicious noble realize that the low-born was different. First, he hugged the main lead, although the latter was acting like a beast (chapter 53). Furthermore, he questioned his master. Besides, he denied the lord’s love. Imagine, as a low-born, he dared to speak to his master like that. Baek Na-Kyum was brave and bold in that scene which couldn’t escape Min’s notice. Finally, I also believe that his first kiss with the painter must have haunted him as well.

The fight between Black Hearts and White Hearts and Black Mind and White Minds is not finished, as the battle between darkness and light will is still ongoing. The Black-Hearts and Black Minds have not met their karma yet. Since all Black Heart’s plots failed and Jihwa has now become more and more useless, The Joker will have to find new pawns: Heena and Jung In-Hun. Striking is that Min helped the protagonist to free himself from his past. He forced him to question his own heart. At the same time, due to the different events, the vicious noble could witness how different and strong the low-born was. Even after the lord had treated him harshly, (chapter 66) Baek Na-Kyum refused to leave his side. He anticipated that the painter would follow his sister, therefore he waited for him at the kisaeng house. (chapter 69) But nothing happened like expected. The painter chose to stay at the mansion. Hence I believe that Min will envy the noble even more than before, so that he has a new plan: taking away the painter from Yoon Seungho, which would have the same effect: destroying Yoon Seungho. While The Joker imagined that would help them in a second abduction, he never anticipated a rejection from the so-called ruthless and greedy criminal. In the shed, he even discovered that Jihwa had sex with the commoner, a sign that the second lead was moving on from his first love. Since a second abduction is no longer possible, Black Heart will have to find a new method to get the painter. What caught my attention is that all the attempts from Min have something in common: he is refusing to take any responsibility for Baek Na-Kyum (for the murder, the gangrape, the rape and the abduction). If the painter had returned to the kisaeng house, the aristocrat would have asked to taste the artist, because this place is similar to a brothel. In other words, he would asked the commoner to treat him as a client. This explicates why he is Nameless’ enemy who stands for responsibility. As for the latter, his meeting with Min made him realize that there was in reality a conspiracy. (chapter 76) and Jihwa had been manipulated by his acquaintance. There’s no ambiguity that Nameless hates plots… that’s why I am expecting that the criminal approaches Yoon Seungho in the 3rd season. Besides, Baek Na-Kyum has already revealed his involvement: That’s why I have the impression that the commoner will even confess on his own that he played a role in the abduction. As a conclusion, we should see white as a symbol for courage and responsibility, while Black for cowardice. If this comes true, then the painter will forgive Nameless, as Baek Na-Kyum’s strength is forgiveness. At the same time, the manhwaphiles should remember that such a gesture could help the artist to overcome his trauma: he won’t get scared, if he sees another jester. That’s why I view this manhwa as a good example to show a huge trauma can be overcome: the past should never be buried, and the victims should face their traumas. Simultaneously, the culprits should admit their responsibility and be punished for their wrongdoings.

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 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: Prince Charming

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.

Now, you are surely thinking that this essay will be about the lord’s action in the chapter 53. Baek Na-Kyum got saved by Yoon Seungho hence the latter becomes a sort of Prince charming. He intervened the moment the painter had to hear verbal insults and we all know that the painter is much more sensitive to such oral attacks than to physical abuse. Yoon Seungho saved the damsel in distress with his action. However, this is just an illusion as the real prince charming is none other than Baek Na-Kyum himself.

If you study this scene again, you’ll notice that the lord was actually on the verge of losing his mind due to the fury and pain. He had just heard Deok-Jae saying that Baek Na-Kyum would become a prostitute and would be shared with many other men. With this picture alone, the noble could only go insane. He was already jealous of the tailor for touching his lover and making him blush. From the chapter 39, it became clear that Yoon Seungho desired to be the only one to provoke such reactions in the painter. No wonder that the lord became so brutal and turned into a fury.

This is no coincidence that I am choosing such an expression as furies are powerful divine creatures representing wrath and punishment.

The Furies (or Erinyes, sing. Erinys) were creatures from Greek mythology who exacted divine retribution from those guilty of wrong-doing. Crimes which were especially likely to incur their wrath were those involving one’s family and anything related to oaths. The Furies were also responsible for carrying out curses, and the punishments they dealt out included disease and madness. quote from

Observe the similarities. We have wrath, divine retribution for a wrongdoing, disease, family, and oath which fits our situation in the chapter 53. Deok-Jae as a servant is bonded to his master (a sort of oath), then the mansion where he is working represents his family. Yet, when he assaults the painter, it was as if he was committing a crime on a family member. He has already been cursed because he is already losing his sight. And now remember when I compared Yoon Seungho to a vengeful ghost as he was barely seen in that scene due to his violent punches and slaps. In reality, the main lead had turned into a Fury the moment he discovered the scene. Consequently, when the painter puts himself in the middle, brave enough to receive the slap destined to the jealous concubine, he transforms the noble into a human again. He, a human, shows no fear in front of a powerful and divine creature. How can a human being have such power? I could say that his strengths are purity and selflessness. However, this is not enough. In fact, this action makes the noble realize that he is a man made of flesh and blood. The shock makes his heart race. Then, he sees the artist’s bruised cheek. He hurt his loved one, he is reminded of his love but the pain and shock are brief because Yoon Seungho is embraced by the painter immediately. With the tender hug, not only the latter can calm down the upset protagonist, but also he can make him feel the warmth in his body. Finally, the aristocrat is able to hear the artist’s gentle voice. As you can detect, due to the low-born’s actions, the lord’s senses were all reactivated: the sight, the touch and finally the hearing. Therefore the noble is no longer a Fury but a man of flesh and blood again. That’s the reason why I believe that the real prince charming is Baek Na-Kyum and not the other way around. I believe that there is a reason why the painter buries his face in the noble’s embrace. He doesn’t want to make him feel guilty. He knows that the rage was caused by the servant’s crime so he shouldn’t be blamed. Baek Na-Kyum is truly the hero of this story and thanks to him, the readers witness the lord’s rebirth. Remember that I said that on the lord’s robe, there are phoenixes, the symbol for a rebirth and transformation. From its ashes, it comes back to life. That’s the painter’s power. He can affect the lord so much that he is able to bring him back to life.

The real reason why I came to this title and idea was because of an observation I made thanks to my follower @user4792569. She had this picture as display on her computer. Thanks to this person, I made a huge discovery. Note that Yoon Seungho is not seen at the window this time. All this made me realize the progression from the chapter 44 to the chapter 52. First, we have the lord smoking at the window. Then in the chapter 51, he is sitting so far away from the window that the painter can barely see him. Finally in the chapter 52, he has completely disappeared. Then I told my follower that it looks like the aristocrat was waiting for his Prince charming at the window but since the latter never came, it seems that he has already given up on waiting. That’s why he decided to no longer stay at his window. Since I associated our main lead to a heroine waiting for her Prince charming in her tower, I came to the association of Rapunzel and @user4792569 added that he had indeed hair like Rapunzel!! As a conclusion, Rapunzel is Yoon Seungho. The latter, trapped in a tower, is waiting for his prince charming at the window isolated from the world. The weirdest thing is that the original fairy tale Rapunzel contains many similarities with our story.

But before contrasting the manhwa with the original fairy tale written by the brothers Grimm, I would like to examine the following drawing again.

Note the difference between this image and the two others from the chapter 44 and 51. The distance between the painter and the lord’s chamber has been reduced. Furthermore, in the chapter 44, the artist was just walking towards the mansion and not towards the lord. So he didn’t relate the building to the master, rather to the staff. The commoner was not looking at the noble, he just paused for a short moment looking at his Rapunzel and then went to his study. In the second drawing, the artist is still not ambling in direction of the lord’s room but his body and face are turned towards the window. And in the last image, we see the painter going to Yoon Seungho’s chamber. This symbolizes the huge change in the artist’s thoughts. Little by little, the home is taking Yoon Seungho’s form, although the man has vanished from the window.

However, I still see hope in the last drawing because the window is still open which reflects that the noble has not entirely given up on the painter. Furthermore, the manhwalovers detect the presence of the candles light guiding the artist to the lord’s bedchamber. The opened window and the light are signs that deep down, Yoon Seungho still wishes to be saved and released from his prison by his loved one. And just like the prince charming in Rapunzel, he observed the tower before approaching it willingly.

Each time, we had a drawing with Baek Na-Kyum standing in the courtyard and walking to the building, it was snowing. The snow symbolizes their love. Both have been so much hurt that they felt as if they had died that’s why their love is cold. On the other hand, we shouldn’t forget that snow burns as well. The combination of cold and hot does mirror their relationship. They hurt but love each other at the same time. Moreover, because snow is made of water, I interpret that their love is pure too. Now, you understand why I pointed out that the weather and time has always reflected their relationship and the protagonists’ state of mind. As a conclusion, their love is pure, cold but hot simultaneously that’s why from time to time they feel love or coldness and distance. Their love might be pure, but it is always accompanied with pain. That’s the reason why now I consider the lord’s words here as a love confession. However, he couldn’t use the words “I love you” as he has never experienced it before. I doubt that his father ever said this to him. And now, you understand why I kept saying that we should never jump too quickly to conclusions and judge the main lead as someone stupid or crazy. He is just a traumatized boy who stopped growing up since he decided to stop living as a human and chose to become a spirit.

Due to this picture, I thought of Rapunzel and now it is time to contrast both stories. First, I would like to remind my readers that I am only using the original version of Rapunzel, since I prefer using books as references.

In both stories, the main character is living in a prison. The young woman has been raised in a tower without door and stairs and has only a view to the outside world from a window, while the aristocrat keeps smoking in front of his window doing nothing. Due to his passivity, I had already disclosed that he wasn’t truly living. I portrayed him as a zombie, a dormant volcano or a spirit. He was just living through his mind hence he perceived himself as a spirit. Since they are in a similar situation, we can say that both can’t make any real experience as they are cut off the world. This explains why the lord can’t recognize his feelings for the painter. But here is the question: How did it come to all this? Why are both imprisoned?

In the fairy tale, the child Rapunzel is taken away from her parents by a sorceress. The latter had a beautiful garden where there was lamb’s lettuce. A couple could view from their window this garden and admired the plants and especially the rapunzel. One day, the wife wished to eat some corn salad from that garden and forced her husband to steal some by lying to him that she was dying. The husband acted according to her wishes, however the moment she was able to eat some, she wished to eat more and more from it and kept sending her spouse to that garden. Nonetheless at some point he got caught by the owner of that wonderful garden. The sorceress got first mad but accepted the man’s excuses (“the wife felt dying and he wanted to save his wife”) so that the witch proposed the following deal. The couple had to give her the child the moment she would be born. That’s how the sorceress got her hands on the girl Rapunzel and raised her as her own. The reason why I am telling the whole story is the following. The protagonist got separated from her biological parents because they committed a crime: theft. Furthermore, Rapunzel’s biological mother lied to her husband. She never died, it was just that her greed and desire were so big that she couldn’t resist the temptation. In other words, the daughter got punished for her parents’ wrongdoings. If we had to list all the sins committed by the parents, then we come to the following observation: ambition, selfishness, theft, greed, cowardice and lies.

Now, if you contrast this to the manhwa, you’ll notice the parallels. I have already stipulated the following theory: Yoon Seungho got betrayed by his father because the latter committed a crime. From my perspective, he must have planned something against the king and in order to save his own skin, he decided to use his son. Because of the purge, we know for sure that the father was involved in some conspiracy against the king. So we can deduce that greed and ambition were a trigger for the plot. Out of cowardice and selfishness, Yoon’s father sold his son for his misdeed. The sins are all the same in the end. Since we have no info about the mother, I can’t make any comparison with Rapunzel’s biological mother. As a conclusion, both children paid for their parents’ crimes.

The other analogy is the adoption. The sorceress became Rapunzel’s surrogate mother and she hid the child in her tower. While this story is famous for its allusion to physical and mental abuse, I believe that this fairy tale offers other messages which are often neglected because people focus much more on the scene with the hair cut. Nonetheless if you focus your attention on the beginning of the story, the story gives other moral lessons. For me, the witch was not motivated by hatred and resent, when she built the tower for her adoptive daughter. My interpretation is, she wanted to keep the girl for herself. We have to imagine that she must have felt lonely and saw Rapunzel as a companion. She wanted to create her own family but couldn’t as she had no partner. Remember that the witch was on her own before getting the baby. One of the lessons of this fairy tale is that many parents, especially mothers, have issues to accept that the children will grow up and turn into adults. They wished, their infant would remain a child for a long time in order to keep them by their side. Another message is that they want to ensure that their child never discovers pain and as such failure, if you consider the tower as protection. They will do anything to protect their infant and remove every obstacle for them. In both cases, fear triggers their behavior: fear of abandonment, failure, pain. Striking is that this message is still very actual because in our modern society, we have helicopter parents.

“The term helicopter parenting was coined in the 1990s and generally applies to parents who are overly involved in their children’s lives, especially in academic and achievement-related activities. “ quoted from

In the manhwa, the adoptive parent is valet Kim. He is the one taking care of Yoon Seungho. He helps him getting dressed and even brushes his hair. We could say that he sometimes acts like a mother (brushing the hair) or like a father (asking the doctor for an aphrodisiac for the painter). However, due to his social status, he is not allowed to be considered as Yoon Seungho’s father which explains why the aristocrat has to remind him of his place. Consequently the lord has not realized the true nature of his relationship with the butler. He trusts him, yet simultaneously he is oblivious to the loyal servant’s feelings. He doesn’t see that he has been respected and loved by him for a long time. The social gap hinders him to judge his valet correctly. Striking is that the butler stands in opposition to the sorceress because of his selflessness. He does feel fear like her but his scare is different.

This has nothing to do with abandonment, rather he is frightened of the adoptive son’s strength. Unlike Rapunzel, who is helpless and powerless as she relies too much on her godmother and can’t fight against her punishment, Yoon Seungho is strong and influential. He might be trapped in a prison, but his cage is just virtual. He has definitely connection to the outside word, we shouldn’t forget that he also has shadow guards. He chose to remain in that tower in order to avoid wound and betrayal. And this shows how similar the fairy tale and the manhwa are. The “chamber with the open window” is the tower but here the main lead made this choice willingly, whereas the young woman was a victim of her mother’s abusive attitude. She wanted to be the only one loved by her adoptive daughter. In my opinion, the witch is too obsessed with Rapunzel.

But let’s go back to the adoptive father Kim. In my opinion, butler Kim embodies the perfect parent. He loves his adoptive child despite his flaws. He is very understanding and supportive, tries to explicate his son’s harsh behavior without embellishing his wrongdoings. However, the servant’s decisions might be sometimes wrong too, just like any parent’s. Let’s not forget that perfect parents don’t exist. It is normal to make mistake as parents, since the latter are humans: “error is human”. That’s why the parents in the fairy tales are often portrayed with flaws as well.

Interesting is that Kim realized very early on what the painter meant to his surrogate son. Initially he thought it best if their first night together remained an one-night-stand. We could say that he tried indirectly to separate them, just like the sorceress did. In his mind, the painter wouldn’t be able to handle the aristocrat as he is too damaged. For him, the artist should forget that night and remain working as a painter at the mansion, however it was too late. Yoon Seungho was already deeply attached to Baek Na-Kyum. When he witnessed the outcome (rape), he anticipated that something bad could happen to the scholar, hence he ensured that the teacher would leave his bedroom. Kim prevented his son from committing a crime. The reason for dwelling on this aspect is that the valet never saw Yoon Seungho’s love for the painter as a betrayal, which stands so much in opposition to the sorceress’ words. That’s why we need now to focus on the betrayal.

In Rapunzel, the godmother discovers that her daughter has been seeing a man behind her back. She yells at her this:

“Oh, you godless child,” cried the sorceress, “what must I hear from you; I thought I had cut you off from the world, and you betrayed me!” In her rage she grabbed Rapunzel’s beautiful hair, beat it a few times around her left hand, took a pair of scissors with her right, and rip, rip, they were cut off, and the beautiful wisps lay on the ground. (translated from me because I have the German version)

Now, you can imagine the connection between Painter Of The Night and the fairy tale. Both children suffer a huge punishment: the parent cut their hair. This symbolizes abuse and in the manhwa, I would even add, it symbolizes a castration. Now, the manhwaphiles detect the parallels between the Grimm’s story and the Korean story. Yoon father resembles the sorceress too. He punished his son for a so-called sin and betrayal. The truth diverges: the parents were in reality betraying the children. Whereas the witch was too obsessed with her daughter’s exclusive love, the other did this in order to survive. Yet, they are also very similar in their behavior: selfish and cruel. The adoptive mother doesn’t even listen to Rapunzel’s explanations, she immediately reacts on her feelings. She has the impression that she has been betrayed.

As for Yoon father, I envision that he set up his son in reality and created a scandal so that the father had a justification to abandon him. Yoon Seungho was a sodomite so that he could no longer consider him as a part of his family, the reality is that he proclaimed the son as a sodomite in order to cover up his own sins. Just like I mentioned above, the son paid for the father’s wrongdoings. That’s why the lord decided to live in a tower. So Yoon father is indeed to blame for this chosen prison. The witch and Yoon father were the ones who created the prison. But the affinity doesn’t end here. Rapunzel and Yoon Seungho are both banished. The only difference is that while the young woman is sent far away, in Painter Of The Night, it is the father who runs away from the mansion underlining his cowardice. Since in Rapunzel, the hair cut symbolizes physical abuse, then we could say that Yoon father abused his son too.

While reading the fairy tale for the analysis, I couldn’t help myself smiling because I discovered more parallels between the two stories. When the prince charming got caught by the witch, she mocked him by saying this:

“You want to fetch the lady dearest, but the beautiful bird is no longer sitting in the nest and no longer sings; the cat has fetched it and will also scratch your eyes out”.

Notice that Rapunzel is compared to a bird and even before reading the fairy tale again, I compared our Joseon main lead to an eagle. Then, the lamb’s lettuce is the plant that gave birth to Rapunzel. Strangely, I associated the painter to the lamb. I have to admit that I had no idea that lamb’s lettuce was another word for rapunzel. And if you remember the observations I made while examining the scene where the powerful lord saved the painter, I described how the painter brought the noble back to life. The other similarity is the importance of love and sex. When Prince Charming and Rapunzel met in that tower, they had sex which is only revealed at the end. After getting banished, Rapunzel was on her own and raised her twins alone. The fact that she gave birth to children is a clue that the two protagonists made love. That’s the reason why the sorceress felt betrayed. The daughter had sex without the mother’s consent. Sex is also the reason why Yoon father betrays and abandons his son.

The sorceress also punishes Prince Charming and makes him blind. The other punishment is that he is separated from his lover for many years, until he meets her again. He recognizes Rapunzel by her voice and the woman’s tears are the cure for his blindness. Yes the tears… Sure, in the manhwa, “Rapunzel” is the one moved by the painter’s tears. However, in both stories the tears are a symbol of purity and honesty therefore they have an important finction. From my point of view, we will see Yoon Seungho’s tears later, just like it is only mentioned at the end of the fairy tale. Why do we need to see the lord’s tears? I believe that the lord never cried before, never during the betrayal and the gangrape (my theory), yet he needs to let out the tears in order to overcome the trauma. The confrontation between the prince charming and the sorceress could be perceived as a future encounter between Baek Na-Kyum and Yoon father.

The young man won’t fear the selfish and cruel father. Now, if we return our attention to the painter, we will notice another evidence that Baek Na-Kyum is Prince charming. When in the chapter 52, valet Kim reprimands the artist, he calls him a spoiled princess. This shows how much the butler values the painter. He definitely sees him worthy of his adoptive son. In his eyes, he has become a princess, he just needs to stop acting spoiled.

That’s the reason why I feel the painter will take his responsibilities for his Rapunzel. Let’s not forget that in the philosophical tale The Little Prince, the fox told him this:

“Men have forgotten this truth,” said the fox. “But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose . ..”

Since the painter has tamed the eagle, transformed him into a human being, he needs to become responsible for Yoon Seungho. Imagine the huge scandal. A low-born decides to overlook the conventions and declares that he will be responsible for his lord, since the latter has feelings for him. This would be really interesting if this turns out true. I have to admit, in all the last essays, I keep mentioning a scandal. The reason is simple: Byeonduck wanted to call her manhwa “Scandal…” hence I am still expecting for a huge scandal!! And since I described in this drawing, the painter’s slow approach to the lord’s bedroom, I have the feeling that the painter will be the one to make the decision. He had already taken the lord’s side slowly like we could witness in the image above and the hug reveals that he is truly supporting him now. He is no longer forced or fears his strength and fury. In fact, he understands the lord’s pain instinctively and accepts him with all his faults.

As a final conclusion, Painter Of The Night could be truly perceived as a new version of Rapunzel. The sorceress is a combination of valet Kim (the adoptive mother) and Yoon Father because the moment she got aware that her daughter met a man, she felt betrayed and punished her. Sex was the reason for the banishment and abandonment. Since Yoon Seungho is Rapunzel, I truly hope that people will start perceiving him as a real victim. The incident with the topknot is just the peak of the iceberg. Furthermore, Rapunzel represents the passage from childhood to adulthood accompanied with separation. Rapunzel discovers love and become an independent person. She might have been banished, yet she was able to raise her twins. The experienced pain and the separation from her mother helped her to find her freedom and gain more experience, knowledge of the world. Yoon Seungho is also making new discoveries thanks to Baek Na-Kyum. His prince charming showed him that innocence and purity still exist. Yoon Seungho is changing, he is little by little discovering innocence and love.

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: Prejudices, secrets and images: Deok-Jae -fourth 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.

When I read the chapter 53, I was happy to discover that my predictions were mostly correct. It really turned out like a new version of the chapter 30. That’s why in this essay, I wanted to compare both chapters in order to outline the differences. Consequently the readers would perceive better the characters’ evolution and the change in their relationship. Furthermore it would help me to imagine how the story could go on. But since there are so many details to contrast, I chose to focus on Deok-Jae in the first part. By examining Deok-Jae more closely, I had suddenly a realization and this will be the topic of this analysis: Deok-Jae’s secret leading him to have prejudices against the painter.

It all starts with the discovery of the painter’s disappearance in the chapter 29, which causes the lord to get so infuriated that he starts beating all his servants. Even valet Kim begs for his master’s mercy, willing to receive any punch so that the servants suffer less. The former is pushed away, the moment the protagonist witnesses the painter’s return. Among the victim of the physical abuse, there is Deok-Jae. The manhwaphiles discover his face for the first time in the chapter 30. The domestic’s face is covered with blood and bruises, when he opens the door to Jung In-Hun and the painter. However, the author introduced him for the first time in the chapter 29 which didn’t catch my attention as I was too focused on the lord’s behavior and reaction. [I want to thank taeminiebaby for her tip, this shows that everyone is welcome to contribute to my analysis] This gradual introduction is quite important for two reasons. First, his face gets more and more features. While the man has no visage in the first drawing, Byeonduck gave him eyebrows and a mouth in the second drawing. And the climax of his presentation is in the chapter 30, when Deok Jae opens the door. Striking is that in the two scenes, he always stands close to a door. These two observations are quite important because I’ll refer to it later.

In the chapter 53, we discover that before the escape, the noble had already given the order to his staff that they should keep an eye on the artist but no servant took it seriously. The explication is quite simple. Baek Na-Kyum was a low-born hence he couldn’t be a guest. On the other hand, his job was so different from the servants’ as he painted erotic pictures of sodomy. Due to all this, the staff could only disapprove the artist. In other words, due to his undefined position, the servants couldn’t view him as a part of the staff but just as an outsider. That’s why the low-born could escape. On the other hand, they never witnessed how the noble started having a relationship with the artist (chapter 20/21; chapter 25/26/27) therefore they just thought, he was only important because of the paintings.

The irony is that in the chapter 53, the servant is even referring to that incident. He notices the contrast. Back then, Baek Na-Kyum had no reason to run away because the servants didn’t witness the rape. Yet he decided to flee. Now the innocent young man is doing the opposite. Despite the lord’s neglect and the suffered violence he refuses to leave the mansion. He resists to the jealous and resentful domestic with his body (“you dig in your heels”), although the latter is weaker than the brutal domestic. This displays the commoner’s strong will. Therefore this forces the domestic to hurt his hand. If the protagonist is disabled, the noble can no longer keep him as the latter has lost his ability and function. The consequence could be terrible for Baek Na-Kyum. Yoon Seungho could decide to send away the low-born. Deok-Jae has already anticipated that the lord is no longer favoring the painter as he returned to his older self during that week. That’s the reason why Deok Jae says this: What caught my attention in this drawing is the first comment. His words reveal that the domestic must have stood by the door of the bedchamber, when he heard the artist’s moans. Therefore we should ask ourselves when and why he was spying on his master and the painter. Striking is that he mentions the lord’s chamber and the moan sounded similar to pain. Thanks to this info, we can already reduce the number of probabilities and almost figure out when he was observing the painter. Naturally, I can only mention the sex sessions that we could witness.

He can’t be referring to their “wedding night” or the rape as the protagonists were not at the master’s chamber. The one occurred at the painter’s chamber and the other at the pavilion. Deok-Jae couldn’t be referring to the night in the chapter 42 and 48/49, as they were at the painter’s study, when they had sex. . We have two possibilities. The first one would be that he heard the moan during the sex marathon, yet valet Kim seemed to pay attention to the lord’s bedroom. Since the domestic notices the resemblance of the sound between the pain and the moan, he could be thinking about the sex session in the chapter 45. Yet, the problem with this proposition is that the painter never complained here so that the moans can’t be similar to pain. As you can conclude, the mention “master’s room” is an important clue.

The last probability is when the powerful mean lead masturbated the painter for the first time (chapter 16). Remember that during that night the door of the lord’s chamber got open and no one could see the perpetrator of this wrongdoing. Every reader speculated that a servant must have opened it but we wondered about the reason for this action. Many manhwaphiles complained about the lord’s leniency. Furthermore since we didn’t see any face, we were clueless about the motivation behind this action. From my point of view, during that night Deok-Jae could have been the one observing the door. Since no one talked about the event happening, then it is clear that Kim must have been the one opening the door and he left it open in order to force the painter to leave Seungho’s side. However, I am quite sure that the loyal butler wasn’t the only one who paid attention to what was happening in the lord’s chamber. Why? It is because of Jihwa’s words in chapter 17. With his statement, it is clear that someone was observing the door and the painter’s move. Jihwa is using the expression “servants” in order to hide the identity of the informant. There is no doubt that the domestics had no idea how Seungho felt attracted to the painter, since he kept organizing sex sessions (8,12-15). Besides, observe how the noble implies that the spy must have observed the low-born, until he returned to the study, while I doubt that Kim would have kept observing the artist till the end. The heard footsteps indicate that the valet was running away. From my perspective, Deok-Jae must have witnessed how Jihwa left Yoon Seungho’s chamber but he didn’t see or hear the painter leaving the master’s room and worried that Seungho would make a move on the commoner. Annoyed, he could have misled the butler so that the latter would interrupt them. He knew that if Kim intervened, the master would never scold him. Besides, he had no right to open the door. We shouldn’t forget that during that night, the lord hugged the painter before the latter tried to leave the bedchamber. Imagine that their shadows were visible from the outside due to the candles light hence Deok-Jae could have seen how the master had got close to Baek Na-Kyum. The other reason for this supposition is that the painter cried during the masturbation… which is also related to pain. We shouldn’t forget that the low-born felt embarrassed to have an erection. He was still in denial about his homosexuality. This could explain why the moans were so similar to pain. From my point of view, Deok Jae was spying on his lord for an important reason and used valet Kim to stop this event. Now, you are wondering why as well.

My interpretation is the following. Deok-Jae has always felt attracted to the lord and wished deep down to become his sex partner. But this wasn’t just a pure love, for it was mixed with greed. He wished to change his position. Nonetheless he had to witness how the lord showed so much care for the artist. He saw how they got closer and closer. The lord went even so far to spare the artist from the straw mat beating. The moment you assume that the domestic wanted to be the lord’s partner, you understand why he resents his lord and the commoner so much. But let’s go back to that famous door. If my assumption is correct, then it makes sense why the domestic opened the door and ran away. He wanted to stop his lord to get closer to the innocent main lead. The domestic got jealous and resentful that the painter, a low-born like him, could get the noble’s attention and the master would try to woo him, which Deok-Jae refused to admit.

If you pay attention to the servant, you’ll observe two details distinguishing him from all the other low-born. He is the only one not wearing a white headband. Even valet Kim wears one. He thought if he had no white headband, this would reduce the distance between him and his master. Furthermore he might catch the lord’s attention that way. The second observation is that he is often seen next to doors. We can see him standing next to the door of Jung In-Hun’s chamber in the chapter 29, opening the door in the chapter 30, then we have this drawing in the chapter 45, then in the chapter 47

in the chapter 51 (when he visits Nameless and at his return). The manhwalovers can notice the door on the right side in the chapter 52 and finally in the chapter 53.

I don’t think my readers have already forgotten the signification of the door. Back then, I demonstrated how the door represented the painter’s opinion concerning his sexual orientation. In other words, Deok-Jae is a homosexual too, attracted to Yoon Seungho but he can’t reveal it because it is a taboo. Let’s not forget the criticism Jihwa told to his childhood friend in the courtyard in front of the staff. Sodomy with a commoner is considered as degrading and filthy. I have to admit that I was totally wrong concerning Deok-Jae’s resent.

chapter 51

I thought, he had been punished a second time hence his hatred for Yoon Seungho had increased to the point of betraying him. We know for sure that pure greed was not the motivation for his betrayal.

So why would he resent the lord so much? The beating in the chapter 30 can’t be the explanation as many servants were punished, included valet Kim. But it is a different story, when it comes to love. He had to witness how his master fell in love with someone else and this person was not only coming from a brothel but also was wearing a white headband without a topknot. From my perspective, Deok-Jae was trying to imitate the nobles with his hair dress. Yet this could never appeal the master as he is not attracted to superficiality and beauty. He was attracted by the naturality and purity of Baek Na-Kyum’s tears and reactions. But there is nothing attractive about Deok-Jae as he is vain, full of malice and envy. This explains why he kept hurting Baek Na-Kuym by pushing him or poisoning his rice or calling him a whore.

And it is time to reveal the real evidence for this theory. In the chapter 29, when the painter escapes from the mansion and meets Jung In-Hun in the street. Their encounter is no accident, although it looks like one, as Baek Na-Kyum runs into the teacher out of fear. The painter mentions that he has been tipped off by a servant. He says no name but if you contrast this to the following picture. Deok-Jae is actually saying that he has no idea about the noble’s whereabouts. Then there is a drop of sweat on his face. From my perspective, Deok-JAe was the one who helped the painter to flee and gave him the info about the scholar so that both would disappear. The drop of sweat indicates discomfort and now, the readers can fill the blank. He is actually lying to Yoon Seungho. He hopes, his master will buy his lie and give up on Baek Na-Kyum. The servant Baek Na-Kyum is referring to can only be Deok-Jae, since he is slowly introduced in the same chapter.

And now, if you consider him as a jealous man who longed for his master’s attention, you’ll understand why he destroyed the snowmen, why he pushed him hard and why he spoiled the rice. He acted as a jealous concubine we can see in Chinese or Korean historical dramas. Killing the rival is another typical trope too hence this is not surprising that he is determined to have the painter killed so quickly. This discloses Deok-Jae’s urgency, he needs to act now as the painter is no longer favored. His action to ransack the painter’s room reminds me of the concubine’s plot trying to ruin clothes. Now, I understand better his jealousy and resent for both protagonists.

He acts like a dejected concubine, out of revenge. Moreover, this would explain why he never stopped the painter from leaving the mansion in the first place. He wished, the man would leave the place so that he would no longer represent a thread. No wonder why he keeps making rude remarks, when he sees the painter receiving the butler and the lord’s attention (the clothes, the material for the painting, the special dishes etc.). He wanted to be the one receiving the master’s favors. That’s the reason why the servant acted on impulse that night. There was despair, resent and urgency… Deok-Jae feared that the master would change his mind. With this new revelation and interpretation, I feel a little stupid for not realizing it sooner. I made the mistake to imagine that he had been beaten as an explanation but the reality seems to be different.

But let’s go back to the picture, where Deok-Jae claims that he can hurt the painter. The mean domestic thinks, he can do whatever he wants to the painter as the lord no longer cares for Baek Na-Kyum. The typical behavior of a jealous concubine in front of the neglected wife (LOL). Besides, Baek Na-Kyum is not part of the staff. Deok-Jae never considered him as one right from the start and with the incident in the chapter 30, his prejudice was reinforced. He justified the lord’s fury with the painter’s seduction. Baek Na-Kyum must have somehow bewitched his master. How could he fall for someone who had no topknot and was wearing a white headband? On the other hand, while the painter claimed in the past, he was no servant (chapter 38), he is now determined to remain in this mansion as a servant. This outlines how much the mansion means to him. It has indeed become his home. If he’s a servant, then he can’t be called a prostitute. For Deok-Jae, it is really important to perceive him as a prostitute because he has no other explanation for the lord’s behavior. How could he fall for someone like him, when he on the other hand had worked at his place for a long time and paid attention to his appearance? That’s why he can only insult the painter , when he sees the drawing of Seungho having sex with the painter. Observe his look. He is not disgusted by the drawing as such, he is not rejecting sodomy. He resents the artist, he wished, they would have switched places.

At the same time, we shouldn’t forget that in the chapter 53 the painter’s position and image are relevant. Baek Na-Kyum is not like in the past, where he was proud of his work, in this moment he is willing to be viewed as a domestic which explains why he abandoned the expensive clothes. First Baek Na-Kyum is rejecting the tailored clothes therefore he can’t be considered as a prostitute. Secondly, he is lowering himself in order to be included in that mansion. He did listen to the butler’s words. He could no longer act like a spoiled princess, he was a part of this mansion and needed to serve their master. Thanks to the reprimand, the painter realized that he could become an assistant if he was dressed like the others. Through Kim, the painter was reminded of the words from the maids. Now, the painter is choosing his position at the mansion. Since the begin of the second season, his status had become even more ambiguous. Was he a wife, a favored servant or a prostitute? Due to the separation, the painter had no other option than becoming a servant.

But this switch of clothes represents a danger for Deok-Jae. Sure, he was asked to make the painter leave the house, yet from my perspective he has another problem. If Baek Na-Kyum becomes a part of the mansion, then he can get the master’s favors again as he had been able to catch Yoon Seungho’s care and even affection right from the beginning. Baek Na-Kyum’s position as a servant represents a source of thread for the rejected domestic. Besides, the more the painter remains there, the more he will become accepted by the others. Deok-Jae has already experienced the change of attitude among the staff. The maids were quite nice to the painter in the chapter 47. This causes the domestic to increase the pressure on the painter. He has to leave the domain. The other reason for his fury is that in his eyes, the protagonist has always been just a whore and he wants him to keep this image.

By breaking the low-born’s hand, Deok-Jae is determined to change the painter’s status and image. If he loses his hand, he will lose his job and become a prostitute. His wish is to turn the painter into a gigolo so that he can get rid of a rival and his prejudice about Baek Na-Kyum will come true. Let’s not forget that’s how exactly the domestic is perceiving him. This pejorative perception he has about the artist is also confirmed with the following drawing.

Here, the painter is described as a seducer, someone who wanted to get some benefit through sex. However, we all know that in the chapter 30, the lord dragged the painter to his chamber so that their intimacy was no longer a secret. The domestic must have witnessed it but due to his jealousy, he resented the artist too much to accept this truth. The painter wasn’t willing to become the lord’s partner but he was forced to. The servant is using the image of a prostitute in order to wound the artist. He claims that everyone is saying this, yet we are all aware that the head-maid of the kitchen declared the opposite. From my point of view, the servant is using every possible mean to make the painter leave the mansion. First, he creates a mess in his chamber out of revenge and enviousness. When the boy appears so suddenly, he has to change his plan, he needs to make him leave the place so that his wrongdoing won’t be revealed. He uses violence to pressure the artist to depart from the domain. But this doesn’t stop here, he needs to become more vicious so that the artist will give in. That’s the reason why he mentions the rumor about the painter in front of him. Notice that Baek Na-Kyum is more hurt by his words than by his brutal gesture of his hand. But the servant doesn’t stop there, he keeps envisioning the painter’s future: he will become a whore. He definitely wants this to happen. His obsession to perceive the painter as a seducer justifies the harsh words Baek Na-Kyum has to hear. He was a prostitute right from the start and he will become one at the end. He has to because if not, how could he explain Yoon Seungho’s sudden change? Baek Na-Kyum won’t escape his fate and Deok-Jae will make sure that this really occurs. In reality, the domestic is projecting his own mentality into the painter. He wished, he had become a favored servant so that he would benefit from it. He would get expensive clothes, fine dishes, wouldn’t need to work etc. He is actually acting like the negative image the nobles Jung In-Hun and Min have about low-born. They would do anything in exchange for changing their conditions.

Another evidence for this interpretation is the way the jealous man portrays the painter. He describes his rival as attractive, revealing that he is well aware of the features that could attract other men. This reveals how envious he is of the artist. If he had been more attractive, maybe he could have caught the master’s eyes.

Striking is that in the chapter 29 and 30, the servant doesn’t play a huge role. First, he only confesses that he has no idea about the teacher’s whereabouts.

Later, he just opens the door and announces the commoner’s return. Back then, he served as an illustration for the lord’s brutality and rage. But it looks like Byeonduck planned to introduce this character slowly. That’s why we have the servant’s face becoming more and more detailed. At the same time, now it becomes more obvious why Deok-Jae was the one who suffered the most among the staff. Since he had no idea where the low scholar was, the lord could only vent his frustration and jealousy on him. Deok-Jae became the lord’s punching ball because of Jung In-Hun. On the other hand, the latter didn’t realize it. For him, the true cause of his brutal beating was the painter’s escape. If he had not run away, then nothing would have happened to him. On the other hand, since he saw the painter as a rival, he must have been more than willing to close an eye on him. Nonetheless, he didn’t imagine that he would become the scapegoat for this incident.

Striking is that during the second season, his role has increased because he is shown bullying the artist many times: chapter 46, 47 and now 53. At the same time, the punishment in the chapter 30 caused a huge resent against Baek Na-Kyum because he has now problems with his eyes. On the other hand, I believe that he started begrudging his master, the more the lord paid attention to the artist. He had remained by the lord’s side for so long, yet he was never able to get his notice. Consequently Deok-Jae decided to help the killer Nameless to fulfil his task. That way he gets rid of a rival and his master has to feel the pain for not taking him as his favored servant.

Another huge contrast is that the chapter 30 begins with the beating, whereas the beating ends the chapter 53. Yet, the last person getting punched is not Deok-Jae but Min. Nevertheless, what caught my attention is that in both chapters, the servant got punched because of the painter. In the episode 30, the reason was his escape and in the chapter 53, it is because Deok-Jae is insulting and even hurting Baek Na-Kyum. While he only looked down the painter in the past, now he truly hates the low-born. He blames him for his punishment and for his rejection. What the servant fails to recognize are his own short-comings and prejudices. This is no coincidence that he is losing his sight. His physical blindness mirrors his mentality: he is blind due to his prejudices. Striking is that in this chapter, the manhwalovers witness the servant’s thrashing for the first time. Back then, we only got to see the result: a bruised face. Now, we view how Deok-Jae gets pushed, then later punched. The brutality increases so much that at some point we barely see Deok-Jae. The readers only hear the sound of the slaps and the crashing displaying the domestic’s physical powerlessness and the huge amount of strength Yoon Seungho uses with his hands. It was as if little by little the domestic was disappearing due to the violence used by Yoon Seungho. First, the servant is reduced to a lost tooth., then the manhwaphiles only hear the sound of the thrashing. The vengeful shadow is slowly killing Deok-Jae, almost turning him into another shadow too. The irony is that while he is getting beaten, he has to hear from Yoon Seungho: “Who do you think you are to put hands on him?” Now, I believe, I can answer his question. Deok-Jae viewed himself as a future concubine, waiting for the lord’s favors but at the end, he is so hurt that he can’t even walk straight. He crawls out of the room.

Striking is that during the thrashing, Deok-Jae’s face starts vanishing: from this picture to this image. His identity has been reduced to a single tooth. Furthermore, during the whole beating, the author drew pictures with Deok-Jae from such an angle that his face was not visible reinforcing the idea that he is losing his face and identity. At the end, when the vicious man leaves quietly the room, his visage looks quite similar to the drawing in the chapter 29: no eye, only the eyebrow. (chapter 29) . If you compare these two images, you’ll notice the absence of the mouth in the chapter 53 displaying that he can no longer talk. We could say that his lips are sealed as he has no longer a mouth here. For me, I interpret this last drawing as an indication of his future. Since his face is slowly disappearing, this signifies that he is slowly losing his identity. He is vanishing slowly mirroring the gradual introduction in the chapter 29. Therefore now that we know what happens in the chapter 54, I perceive this picture as a clue about Deok-Jae’s future: his death. By disappearing quietly from the lord’s side, he is not only losing his visage and identity but also his important function as Nameless’ secret helper.

While some readers think that his death is unsure because we only see a black veil next to blood, I believe to see another evidence for Deok-Jae’s death in the presence of the door!

Remember that he is always associated to the door. Since I have always pointed out that Byeonduck likes using metaphors and symbols for certain events, I do think that the door embodies the mean servant. Besides, let’s not forget that Deok-Jae threatened Nameless to reveal the secret about Jihwa’s involvement in the planned assassination. We shouldn’t forget that secret and door are strongly connected to each other that’s why in many languages there are expressions linking a secret to the door: coming out, behind closed doors, sortir du placard (French), à huit-clos (French), hinter verschlossenen Türen (German), detrás de puertas cerradas (Spanish), a porte chiuse (Italian) etc. Furthermore, since I have already explained that Nameless mirrors Yoon Seungho and the second season is inspired by the events in the first season, we should see Deok-Jae’s death as a new version of the lord’s killing in the chapter 1. Unlike Yoon Seungho, Nameless has to hide the servant’s body as he is just a commoner, while the noble had used his right to dispose of the low-born. Besides, let’s not forget that Baek Na-Kyum was responsible for the domestic’s death in the chapter 1 due to his lie. As I have already declared that Jihwa is the noble version of Baek Na-Kyum, then his order to have the painter killed is the reason why Deok-Jae ends up dead.

So with Deok-JAe’s death, all the secrets are buried or better said remain behind doors: his homosexuality and Jihwa’s involvement in the planned assassination.

This was my 100th analysis, although I have to confess that I should remove or edit a few essays because some of them contain errors. However, like I had mentioned it before, since the second season is not entirely released, it is much more difficult to be accurate. Yet the purpose of this blog is to let people read this manhwa, to let them to perceive this story in a different light and to share our ideas.

And it is indeed working because many of my readers gave me ideas and info which helped me to understand the manhwa/characters much better. Therefore this is my message: if you discover any little detail, you are more than welcome to tell me about it. I might use it for my analyses.

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 for supporting me.

Painter Of The Night: Spirituality and sensuality

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 this essay, I would like to elaborate why it is taking so long for our two main leads to recognize their love for each other. I have to confess that I only realized it after composing “The spirit and the shadow”.

Now I know why exactly Yoon Seungho fell so deeply for the painter. All this started with Baek Na-Kyum’s first confession. All this time he has been hoping to hear the same words from the painter but this time really addressed to him and not to Jung In-Hun. Sure, you’ll say that so far, this is nothing new. Nevertheless, we need to examine the painter’s first love confession again.

Back then, the love declaration revolved around respect and admiration indicating that the artist loved the scholar spiritually. Since the lord considered himself as a spirit until the chapter 49, no wonder these words must have moved his heart. The irony is that the painter was in reality longing for sensuality. He desired a physical love as the admiration was not fulfilling enough. Moreover, Jung In-Hun kept pushing him away. In other words, the low-born confessed because he longed for warmth and love and felt the need for sensuality. The spiritual love he continued clinging on till the chapter 20 kept hurting him as it was actually one-sided. Besides this spiritual admiration couldn’t satisfy the low-born entirely as his repressed sexual desires hadn’t been removed completely. Due to Jung In-Hun’s rejection in the chapter 19, the painter chose to look for sensuality in order to ease the pain. Yet, the spiritual love was still present.

From my point of view, Baek Na-Kyum moved the lord’s mind and heart with his confession, unaware that with these words, the lord’s heart had started beating again for real. However, the lord didn’t realize the change in him. So when Yoon Seungho heard the confession, he hesitated for one instant and accepted the confession. The lord imagined that he would just get the opportunity to taste the man. Yet, the moment the painter kissed and hugged him, the lord discovered sensuality but couldn’t notice the difference right away. He was still under the impression that he was just a spirit. He imagined that this would be like another “sex session” hence he became impatient and rough towards the painter..

With this signification, it becomes understandable why their first night felt so different for the lord. There existed someone who could feel respect and admiration for him, something he had never witnessed before. First, he is known as an infamous sodomite and hell-raiser. Even his best childhood friend Jihwa never considered him as a spiritual or intellectual man and I am quite sure that the protagonist knew about it. Deep down, he was well aware that his childhood friend only saw him as a . For the readers, it becomes more comprehensible why he told his friend he knew nothing about him. Yet for the first time, he met someone different… the painter was honest and so easy to understand, yet so difficult to control. All this time, he was sexually attracted by the painter but since in his eyes, he was just a spirit, he imagined that he felt the same way with Baek Na-Kyum. In his mind, the painter was just like the other men he had met.

Nevertheless in that chamber, he discovered that the painter was a spiritual being too. Furthermore to his surprise, he heard that the low-born had remained a virgin, the symbol of purity and chastity, showing how much he valued the teacher spiritually. It showed how strong-willed the painter was, as he had been raised in a brothel. He never fell into temptation, that’s why the noble could only fall for him. The painter was spiritually strong and since he viewed himself as a spirit, he could only choose him as his partner. As a conclusion, he saw in the painter a kindred spirit.

However, the longer they interacted together, the more the lord discovered sensuality. The warmth and love coming from the painter’s gestures could only touch his heart, therefore during that night he became a man of flesh and blood as his heart started beating again. That’s why he is able to show such a tenderness and affection. He could never do it before as he was just a spirit. In other words, the spirituality got replaced with sensuality. While the lord thought, he was still a spirit, he didn’t notice the transformation. Furthermore he didn’t forget that the painter was spiritually attracted by a man. This could only reinforce the lord’s confusion. At the same time, the sex was no longer a fight but a sign of love and warmth. Therefore the lord had no idea how to differentiate love, sex, spirituality and sensuality, since he couldn’t distinguish spirit and body. This explains why he is as confused as the painter until the chapter 53. He only saw himself as a spirit until the chapter 49 and hoped to be loved for his mind and not his body. On the other hand, he had experienced sensuality thinking that this was spirituality.

Consequently Yoon Seungho had been waiting for the renewal of a love confession at the pavilion. Yet, not only he was rejected but he had to witness how the painter would hate him and keep admiring the scholar. Imagine, Baek Na-Kyum would even defend the low noble at any cost. No wonder that Yoon Seungho got so jealous and mad to the point he wanted to kill Jung In-Hun as he knew how fake the low noble was. Because the protagonist still viewed himself as a spirit and intellectual, he couldn’t understand the painter’s adoration for the scholar. The powerful noble knew that he had more knowledge and could even perceive people’s nature very well, yet he was unable to get the painter’s admiration. Imagine the humiliation. The young man fell for Jung In-Hun’s deceptions all the time.

The first confession also explains why the main lead confused the mind with the heart. Baek Na-Kyum never said “I love you” right from the start, he only did it much later and since the painter had spoken about adoration and respect, the noble thought, the painter was still speaking about the mind and not the heart. As you can observe, it makes sense why it took the noble so long to discover that his heart was the reason behind all his actions and not his mind. He had been misled by the painter’s confession as well. Finally, this also explicates why the aristocrat decided in the chapter 49 to drop his perception as a spirit as he felt, he would never get anything from the painter, except the physical relationship. At least, the painter had accepted him as his partner, it was better than anything else. Thereby he decided to lower his expectations. Since he couldn’t get the same respect or admiration, then he should be satisfied to get the physical affection. In this picture, it becomes obvious that sharing what is on their mind is an allusion of their first night together.

We all know that all the sex sessions with the painter were an attempt of Yoon Seungho to relive their first night, to feel the sensuality and affection experienced during their first night. Yet, since he had no idea he was longing for the painter’s heart as he saw himself as a spirit, this is not surprising that the lord could never confess or never tell him what he wanted exactly.

The origins for the confusion between the heart and the mind is not only result of the lord’s philosophy but also the painter’s coercive persuasion. The latter had been forced to transform the physical love into a spiritual one due to the doctrine the scholar imposed on him. In other words, the painter’s thinking contributed to this misconception. At the same time, Baek Na-Kyum had been pressured to ignore his own heart, his mind had to control his body and as such his heart therefore he got confused himself. Since both were disconnected to their heart, they were no longer able to make the difference between the mind and the heart. And Yoon Seungho couldn’t even help the painter in that aspect. He was lost as well.

Jung In-Hun even brought more confusion when he compared the painter to a prostitute. The sensuality the latter had just accepted was turned into a perversion. He could no longer feel any admiration and respect for anyone as he saw himself as a nobody. While the lord thought, he had finally won the battle in the chapter 44, he kept waiting for a renewal, kept criticizing the painter for his passivity and lack of passion. He wanted to feel the painter’s admiration again but as time passed on, he realized that the sex between them wasn’t like he desired. Since he was a spirit and mistook his heart for his mind, he couldn’t voice exactly what he was missing as he had no idea what he really desired. This also explains why he replies this to the painter, when he is interrogated to the reason for his care: He is pained all the time, as he keeps missing something but he can’t tell him why. He can’t even say that his heart is hurting all the time, hoping to hear the admiration the painter expressed in his bedroom during their first night. Many readers kept wondering why he didn’t confess here. He couldn’t as he was still viewing himself as a spirit, although he had already become a man made of flesh and blood a long time ago but he had no idea about it. He had never realized his own transformation. This picture really reveals the lord’s illusion. He still believes that his mind is ruling his life and that his decision to just accept the painter as his sex partner will satisfy his need and longing. However, the reality is different. The hanbok he wears the next morning reveals that his heart is already bleeding and deep down he is hurting again. What he imagined, his mind was still ruling his life was no longer true. He had become a man a long time ago and his last decision could only hurt him even more. On the other hand, with his confrontation, he helped the painter to abandon the scholar’s doctrine for good so that he could finally liberate himself and become a free spirit. From that moment, he made his own choice, accepted his homosexuality and his relationship with Yoon Seungho. But in that moment, he also decided to ignore his heart due to the bad experience made with Jung In-Hun. He got scared that the warmth he felt with Yoon Seungho was fake so he made up his mind that he should keep his distance from the lord. He could only have a physical relationship with the protagonist. The painter made the mistake to still mistrust his body and indirectly his heart. Because of this decision, he wounded Yoon Seungho again.

Since the powerful master had never realized his transformation, he could never recognize the existence of his heart. Furthermore he kept thinking that all his choices were made by his mind, because he had continued seeing himself as a spirit for a long time. That’s why he kept looking for a spiritual love but he couldn’t get it as he kept having sex with the painter. This reinforced the artist’s misconception about the noble: he could only consider him as a man of lust. Yoon Seungho’s “obsession” for spiritual love could never become concrete because their encounters were revolving around sex. On the other hand, we shouldn’t forget that right from the start the painter was longing unconsciously for more than just spirituality. Deep down, he hoped for sensuality too. In reality, both protagonists were longing for the same thing, love… but since the noble viewed himself as a spirit and the other was forced to only admit spiritual adoration, they could never say what they were both looking and expecting. However, the more Baek Na-Kyum experienced sensuality with the main lead, the more the artist felt the lord’s love. Hence he had these memories where the lord expressed his love. Consequently he started expecting something else from the lord. That’s the reason why he asked the lord why he treated him so well. Later he kept wondering why he felt hurt, when he saw his lord kiss another man and he didn’t pay attention to his painting.

Striking is that in the chapter 53, for the first time the lord could feel the painter’s affection in the hug. In my other analysis, I even described that the hug helped him to transform from a shadow into a man. But there is more to it. Unlike in the past, the painter remained by the lord’s side. He keeps hugging the man, although the servant has already walked away from them. There is no need for the painter to keep embracing the lord like that. Yet, he does it because he wants to comfort the man. He has sensed the pain in the gestures. So for the first time, the embrace is linked to affection but it is also disconnected to sex. There is only warmth and love without sex. And this is important as it helps them to see that they mean more to each other. This explains why the noble is tender again and wants to remove carefully the white band. Their love has finally come true. They hug each other without feeling the need to express sexual desires. This was also another source for their misunderstanding. The lord had never received an embrace outside their intercourses. The only hug he received in the past occurred in the chapter 26 and it was to save Jung In-Hun. Baek Na-Kyum didn’t hug the noble for solace and comfort but it was for someone else.

In my opinion, the painter could be the one confessing his feelings first. We shouldn’t forget that unlike the master, the artist has already admitted that he felt his heart racing in the lord’s presence. In other words, he has never seen himself as a spirit but has always acknowledged the existence of his heart. Secondly, he is questioning the reason for his sadness due to the lord’s actions. He is the one who keeps asking “why” (chapter 46, 47, 52). Finally, he only rejected the lord in the chapter 49 because he got scared that this warmth was just an illusion. He didn’t want to fall into the same trap and get wounded again. And more importantly, he has a positive and forgiving nature. He didn’t really resent the noble for the kiss, he didn’t cry, when he got expelled at the door. He was sad but not furious at Yoon Seungho. Moreover, he got to hear from Min that the lord liked him. And this is the second person telling him that the lord cares for him a lot. He saw that the lord took his side the moment he entered that room and started beating Deok Jae. Finally, I’ve always said that the painter was the bravest one which was confirmed in the latest chapter 53 again. He showed no fear to step between the servant and the lord, was willing to get a slap and didn’t even resent Yoon Seungho for his violent gesture.

Strangely, despite not knowing how intelligent and educated the lord is, the painter already fell for him as he sensed the love in his actions. The spiritual love will only come the moment the lord reveals his other side to the commoner but for that they need to open up to each other and even entrust their heart to each other.

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: The spirit 👻 and the shadow 👤 (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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1. Mistake

While reading chapter 53, I discovered a mistake in comprehension, hence I had to change different analyses (BNK’s confessions, part 1 / realization part 1). Thus I had to revise Hearsay part 1 as well. I have to admit that it was a little more difficult for me to be accurate back then. I didn’t have all the info since the second season hadn’t ended yet. Furthermore, I would like to thank my reader Sol Lopez for her input and correction. [This truly shows how much I appreciate that people leave comments on my blog, this exchange of ideas and thoughts helps us to grasp the characters much better, so keep posting on my blog] Thanks to this follower, now I can definitely understand Yoon Seungho’s actions from chapter 50 to 53. Therefore I need to go back to chapter 49. What I mistook for Baek Na-Kyum’s thoughts was actually the lord’s thinking. (Chapter 49) This is important because for the first time, he is acknowledging his body as a part of himself. This indicates that in the past, he considered his body as a part of his mind, he only viewed himself as a spirit existing through his mind. This explicates why he abhorred the idea to be associated to the image of a man consumed by lust. (Chapter 5) That’s why in this scene he couldn’t get erected in Lee Jihwa’s presence, chapter 5] Remember what I said about him: he was like a zombie and this was indeed correct. He lived through his mind therefore he read so many books and owns a huge library. From this observation, the manhwalovers can now better grasp why he never cared about his bad reputation as hell-raiser. The image he had about himself was so different from what the beholders saw. He considered himself as a free spirit. Besides, this interpretation confirms my statement in the analysis “The heart and the mind” as well where I explained that he confused his heart with his mind. Since he never considered himself as a man but as a spirit, he couldn’t recognize the existence of his heart. This explains why he makes such a mistake in chapter 53. Moreover, I feel that my association of the eagle was so point on either, as the latter flies high in the sky. That’s the reason why this bird symbolizes free spirit.

(Chapter 49) During that night, he chose to acknowledge the existence of his body. This signifies, he couldn’t realize before that his heart had always been the trigger for all his actions concerning the painter. In other words, he always rationalized every decision he made in the past. I suspect that his trauma is the first reason why he refused to recognize the existence of his body. This could reinforce my belief that the protagonist had been raped in the past. The other cause for his denial was after the terrible experience he had, the aristocrat decided to view his body as a tool to harm others and to protect himself. These were his secrets. He’s just a spirit and his body his armor.

2. Yoon Seungho‘s transformation

Therefore I come to the conclusion that when he had this huge revelation, he was also coming back to life. He might have been hurt by the painter’s rejection, they were just sex partners and nothing more, yet in this moment he decided to follow his heart but thought, it was just his body. He was no longer a free spirit but a man made of flesh and blood. Therefore we can see in the next chapter (episode 50) this tender scene: (chapter 50) His mind was no longer controlling his body, he acted on his impulses. He let his heart do what it wanted. He no longer ponders like in the past. This explicates why he confuses the mind with the heart. We could say that he was deceived because of all the time he spent thinking. Imagine his reaction when he realized after making that decision that the painter was no longer reacting. He got scared that the painter had fallen sick again, he imagined for one moment that this was a repetition of the incident after the sex marathon. Now, you might be wondering why I bring up this scene again. I would like to point out that in chapter 32, when he said (chapter 32) he was already living under the illusion that he was just following his mind. He made the decision consciously that he would have more rounds with the painter, whereas in reality, he already was under the influence of his heart. He felt unsatisfied with the first round as he had just forced the painter to acknowledge his sexuality. Deep down, he wanted Baek Na-Kyum to accept him as his “husband” but despite the painter’s facial expressions and his climax, the noble sensed that there was something missing. So he kept having sex with him until the painter felt sick. In chapter 49, it was different, as he had already learnt to pay attention to his lover. Nevertheless, this indicates that the lord’s learning process was not complete. During that night he finally accepted the existence of his body. On the other hand, this also illustrates that he was slowly giving up on the idea that the painter could ever open up to him. Striking is that both made a similar decision during that night. While the painter chose to accept the lord only physically, the lord made the same decision. That’s the reason why in the end, I believe that when I confused the noble’s thoughts with Baek Na-Kyum’s, it doesn’t change much, as the thoughts are quite similar. Both acknowledge the existence and influence of the body. We could say that their expectations were aligned. This outlines how similar the two characters are. Both were living under the influence of their minds. One was brainwashed, while the other chose to live as a spirit in order to avoid any pain. Nonetheless, I believe that he was also brainwashed.

Yoon Seungho thought that he would be content with his actual situation. He could have sex with him without any other expectation. But the reality was different: the moment he accepted his body and as such his heart, he was already dying. (Chapter 50) His mind might have chosen to resign, yet his body was telling the opposite. His heart wanted more, but his wish was denied by Kim. The author revealed that Kim was selecting the lord’s hanbok. Consequently, I am deducing that the butler had predicted how his master would feel. His heart would be bleeding. Notice that the valet Kim only tells him the truth, after the lord is dressed up and not before. They meet at the scholar’s chamber, when he discovers that Baek Na-Kyum only views himself as a prostitute, hence everything changes. Now he can’t even let his body lead. If he did, then he would make the painter feel dirty. In other words, he would hurt him. (Chapter 50) How strange that the moment he comes back to life, he has to die a second time, he can’t let his body take the lead. That’s why he remembers the painter’s sleeping face. His mind is telling to distance himself from Baek Na-Kyum, yet his heart is showing him something else: the painter. (Chapter 50) The man gets torn due to the conflict. Therefore I have a different interpretation of the last panel. One might say that he becomes a ghost again. It was as if he was vanishing again… disappearing in the books. (Chapter 50) This symbolizes his second death. Thus we have the black and red hanbok indicating death and blood. However, he can no longer become a spirit like before. Due to the acknowledgment of the existence of his body, he can only transform into a shadow. In addition, he can no longer return to his former self: a spirit. His image has now changed, from a spirit to a shadow. How strange… Since I am an optimistic person, I still perceive a positive progression. He is slowly coming back to life, despite the hurt and pain. He is slowly materializing himself.

One might say that his concession (chapter 49) was the first step of his distancing from the commoner. This is only partially true, because he makes an important discovery before: he is indeed a man of flesh and blood. Although he confuses the heart with the mind, we shouldn’t forget that during that night the aristocrat recognized the existence of his body, This means that he is indirectly accepting the existence of his heart. All this will help him to understand what love is. In other words, he is one step closer to the truth. His body existed for a moment and at some point, he will come back to life for real, the moment he realizes that the painter is returning his affection. For me, this realization marked a turning point in the lord’s life despite the setback. Another observation is the lord only needs to distinguish the mind from the heart. As a conclusion, chapter 49 helps us to understand why there was a regression in the relationship between the painter and the aristocrat. On the other hand, it explains why the lord also couldn’t return to his older self too.

In chapter 51, we hear through the maid that Yoon Seungho has now returned to his older self. This is only partially correct again. Sure, he had somehow died for a second time after hearing about the incident. Kim was not telling the truth, for he only mentioned the scholar’s betrayal after the painter had had a change of heart. He was no longer perceiving himself as a prostitute. Nonetheless, Yoon Seungho couldn’t live like in the past, where he used his body as tool, because before he had acknowledged his body and even wanted to let his body take the lead. Furthermore these words implied that he could only react to the painter. That’s why he was a shadow of himself. People were upset because they imagined that the main lead would organize sex sessions like in the past. However, he couldn’t have sex like before, as his body could only accept the low-born. The painter was no longer a prostitute, so was the lord either. He could no longer use his body as a tool, for he was no longer a spirit. That’s why he invites many lords and spends his time drinking or even smoking. He was trying to numb his body, he needed to do that as he was masking his broken heart and soul. He couldn’t allow his body to feel the pain. But without the painter, he couldn’t take the lead. Thereforehe was entirely dressed in chapter 52 and had no erection, (chapter 52) when he got a fellatio. His heart was telling him that he could only get attracted to the painter, therefore he doesn’t feel the need to have sex with his guests. Striking was his passivity as a host. He said nothing and did nothing except smoking. He was not taking the lead literally speaking contrary to episode 8. Since he was only a shadow of himself, there was no real desire. At the same time, it also explains why he remained passive to Min’s attacks. The latter was acting like the guest of honor, and as such taking the lead. There was no fire in Yoon Seungho to fight back and this illustrates why he gave in in the end. (Chapter 52) Simultaneously his body was indeed taking the lead in his chamber too. The moment he discovered the painter’s presence at his door and even heard his guest’s words, he couldn’t help himself to react. (Chapter 52) That was his heart pressuring him to kiss Black Heart. He wanted to protect the artist. He simply let his body take the lead. To conclude, the lord‘s resolution in the study became a reality.

This was even noticed by Black Heart. Chapter 53

This proves that his body didn’t really die in chapter 50, he was just deeply hurt. His body was now acting on his own. Despite his relapse, his mind/heart still revolved around his “former lover”. While in the past, I used to think that this laugh belonged to Yoon Seungho, I realized that it was in reality the Joker’s laugh. However, this doesn’t change anything. (Chapter 51) Baek Na-Kyum from far away had the impression that this was his lover’s laugh. The lord was masking his wounded heart with these fake parties. Either he laughed so loudly in chapter 51 or ignored his guest’s remarks in chapter 52. (chapter 52) In the last picture, he still wondered why the painter came to his side, he must have heard about the rumors. But since Black Heart understood the lord’s actions perfectly, he kept rubbing salt into the wound so that the host finally gave in. (Chapter 52) Here, since his mind was the authority making the choice, I come to the conclusion that the lord was admitting his defeat. His retreat was explainable, as the main lead was no longer a free spirit, but just a shadow of himself. Notice that we only see the door opening violently, as if the noble was indeed a ghost. (Chapter 52) Nonetheless, there was a certain rage and brutality in his gaze. Thereby he might have been defeated in that moment, yet.he had not lost the war. Why? It is because he was boiling internally. He was furious. His mind chose to give in to prove Min’s words wrong. But why? It is related to his brainwashing and past trauma. He shouldn‘t take it to heart. (Chapter 50) If he does, it will bring him only misery. And in the bedchamber, it looked like Kim‘s words were correct. Black Heart had bothered him so much that the only solution he had was to give in. That way, he would no longer be bothered. He would be left alone and find his „peace“. However, deep down, he was so annoyed and angry. Notice that his rage changed him. He became proactive allowing his body to take the lead.

3. The conflict between the mind and the heart

However, the moment he left the chamber, his feet led him elsewhere. He was not looking around, his gaze was looking straight, just like his steps were guiding him to a different room. Strangely, he was indeed following his body and not his mind. The mind made the decision to bring the painter back, the body chose not. That’s why he stopped the moment he heard the scream from the painter’s room. That’s how the readers discovered the contradiction. That’s also the reason why this manhwa is not easy to understand after first reading.

I also detected another opposition between chapter 52 and 53. The lord refused to ignore Min’s disguised attacks and even gave in, because he had no reason. However the moment the lord discovered that his loved one was bullied physically and emotionally, he turned into a beast and beats the servant Deok Jae. He proved Black Heart‘s statement right. Baek Na-Kyum was precious to him.

Chapter 53

The artist was indeed the light igniting the fire or better said, the heart making the lord live. What caught my attention was this drawing:

Chapter 53

We barely sees the lord attacking the vicious domestic. He is indeed represented like a shadow. The noble materializes himself the moment he stands next to the painter. In front of others, he is a shadow, but he turns into a vengeful ghost, when the painter appears close to him. Baek Na-Kyum is the reason why Yoon Seungho becomes a man of flesh and blood, why he uses his strength against another man. The main lead is not only allowing his body to take the lead, he shows some fighting spirit again. Strangely, we never really see the lord’s beating the servant

Chapter 53

Either the manhwalovers hears his voice, sees a glimpse of his robe or a tooth rolling on the floor.

Chapter 53

This illustrates my interpretation: the noble had transformed into a shadow, but in the presence of the painter, he comes back to life and shows a fighting spirit. This explains why he intervened at the door with the kiss and why he attacked Deok Jae, when he discovered the assault on his lover. His love for the painter allows him to reconnect with his body. He feels the need to protect his loved one and to punish the servant for his wrongdoings. Therefore the hug in this chapter is so meaningful: (chapter 53) He feels warmth coming from Baek Na-Kyum. This also helps him to feel that he is more than just a shadow, he is a man in reality. Furthermore, the painter didn’t even resent him for the slap but instead even embraced him. (Chapter 53) He wasn’t even forced to hug him like that. The noble got shocked because he had hurt the painter again.

Chapter 53

He acted on his impulses and the result was that he wounded his loved one. He must have felt agony for one second, until he got embraced. The hug could calm down the beast, as the latter felt the affection. Furthermore, note how the low-born is even burying his face on the lord’s shoulder. That’s the reason why the latter touches Baek Na-Kyum so tenderly.

Chapter 53

From my perspective, Yoon Seungho wants to remove the white headband, which he always felt as burdensome. It truly represents a hindrance between them. However, he doesn’t have time to enjoy his time with Baek Na-Kyum as they are disturbed by Black Heart. Despite the embrace and the tenderness, the noble still doesn’t understand his own emotions.

Chapter 53

He still thinks, the mind and heart are the same. He hasn’t even realized that he is no longer an empty shell in the past. In chapter 52, his mind was busy pondering on Baek Na-Kyum, while his heart was racing the moment he detected the artist‘s presence at the door. He couldn‘t let Min see the artist.. That’s why Min, the cunning fox, becomes his teacher in chapter 53. He teaches him that his heart is influencing his actions. However, he does more than just teaching. He is actually mocking him the whole time. He compares Yoon Seungho to a killjoy. He should have wounded the servant much more, it would have been more fun. Then he describes his love for the boy Na-Kyum as a weakness

Chapter 53

We have to imagine that the noble is making fun of him here, because he listens to someone and the worst is that this person is a low-born. The latter symbolizes humanity and seriousness, while Black Heart stands for brutality and fun. He is no longer independent and strong. Min is laughing at his host and the “lesson” is actually a series of humiliating remarks. The kiss even represents the climax of the challenge. (Chapter 53)

The reason for all this is that Min senses the lord’s weakened condition. He thought that the painter had died therefore the lord had returned to his older self. Yet he anticipated that the man would only be a shadow of himself and he could seize the occasion to usurp the throne. Yet, the problem is that the painter isn’t dead. So the lord has not lost his strength for real. He might have lived like a shadow for a week, yet the mere presence of the painter brings back the lord to life.

Chapter 53

In the final panel, what caught my attention is the way the lord puts his hand on the painter’s head. His hand covers the artist’s ear. It was as if the aristocrat didn’t want him to hear Black Heart’s words. So does it mean that he doesn’t want the painter to discover his weakness (liking him)? From my perspective, I doubt it. His instinct is to protect his lover from Min’s poisonous words. Let’s not forget that the host knows Min’s personality: he likes saying poisonous and hurtful things. Seungho is well aware of the painter’s innocent disposition. He almost got killed by the scholar’s words so this could happen again. Yoon Seungho’s body ensures that the painter is protected. He will do anything so that the latter doesn’t get wounded. What sounds like a weakness in Min’s words represents the opposite in my opinion. The lord is no longer a spirit, but a man full of flesh and blood, when he is next to the low-born. Just like the painter became an empty shell for a while, the same happened to the lord, yet the length is different. The distancing lasted for one week.

People kept asking if the lord would deny this or not. Yet, what mattered the most was that Yoon Seungho had finally discovered the existence of his heart through Black Heart’s words. What he mistook for his mind all the time was actually his heart. Since he had initially recognized the existence of his body, he could no longer live like before.

4. The return of the shadow

Striking is that in the shaman‘s house, we have a reflection of this scene. However, the roles are switched. This time, the painter is Black Heart‘s teacher. Since the Joker viewed life as a game, he saw blood and pain as entertaining, the gods decided to teach him a lesson. In the study, Min had reproached his host to be a killjoy, he should have beaten the domestic to death. (Chapter 53) Thus in the shaman‘s house, the lord fulfilled his wish. He wouldn‘t stop because someone had asked him to. (Chapter 102) As you can see, Min was put in a similar situation, the only difference is that he was now the target of the protagonist’s fury. The gods decided to reveal to Black Heart how wrong his thinking was. A life of a commoner is not different than the noble’s. Yoon Seungho‘s heart got broken, the moment he saw the painter‘s bloody face. (Chapter 102) Therefore he transformed into a shadow with a bleeding heart. (Chapter 102) This is no coincidence that Min couldn‘t stop the main lead. How can a human influence a shadow? It is impossible. As you can see, Min‘s joke in front of his friends came to bite him in the end. (Chapter 101) In the shaman‘s house, he was not beaten to death, but stabbed to death. This was the usual punishment for a noble. The irony is that because the painter was unconscious, he couldn’t stop Yoon Seungho. The latter let his body take the lead and committed murder. He couldn’t act differently, as he had lost his reason to live. The main lead had once again confused the mind and the heart. This explicates why he couldn’t detect that the painter was just unconscious. And that‘s how Min became a spirit.

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: The heart and the mind (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:

In the chapter 53, we discover that Yoon Seungho is in denial about his affection for the painter. The cause for his dismissal is that he believes, he always made decisions influenced by his deep thinking and never recognized that behind his actions, it was his heart influencing his mind. Because of the opposition between mind and heart, I couldn’t help myself connecting this to the famous quote made by the French mathematician and philosopher Blaise Pascal:

“Le cœur a ses raisons que la raison ne connaît point”. “The heart has its reasons that reason doesn’t know.”

With this citation, the author means that the mind is unable to understand the justifications and decisions made by the heart. As you can observe, love has nothing to do with logic and rationale, yet the main lead thought that all his choices were made consciously. He viewed his mind as the supreme authority, while it was not the reality. In other words, he was blind to his own heart and confused the heart with the mind. This is not surprising that on his way out, he is acting like a blind person. While he is walking, his mind is focused so much on his thoughts that he doesn’t realize where he is going. Observe that his eyes are focused on the door facing him and he keeps walking straight, until he pauses due to the scream he hears coming from the painter’s room. The reality is that he is actually acting on his impulses and emotions. He is definitely enraged because he was mocked by Min. He keeps denying the noble’s words and even tries to convince himself that what he has with the painter is nothing special. It is really complicated to pinpoint exactly what he was thinking here. Either he really wanted to bring the artist or he desired to let Min believe that he had finally given in and had planned something else. For me, I have some doubt that he was looking for the painter. His emotions were all over the place but he kept reassuring himself that Baek Na-Kyum and him had just a physical relationship. He was mad and he tried to convince his mind that the painter meant nothing to him. However, what caught my attention is that while he recalls his decision from that night, he sees the painter’s sleeping face. Back then, he felt the need to share what was on his heart, mistaking that his kiss and caress were motivated by his mind. What he really wants to share is not his mind but his heart but his eyes are not able to distinguish the difference. Because of the link between the heart, the mind and the blindness, I had a sudden revelation:

“It is only with the heart that one can see rightly; what is essential is invisible to the eye.”

This means that only love or friendship can help you to distinguish what matters in life. The real values will become visible, the moment you recognize your heart. Do you know where this quote is coming from? The Little Prince, a famous work written by Antoine de Saint-Exupéry. And now, you know what the topic of this essay will be: a comparison between The Little Prince and Painter Of The Night. Before starting with the comparison, I need to explain the story and its signification of The Little Prince.

When you look at this picture, you have the impression that this is a book addressed to children, although it is actually quite the opposite. This famous work is in fact classified as a philosophical tale. First, the author was criticizing through this fiction our modern society… People should know that it was written during World War Two, where reasoning was misused to the extreme (see my analysis Baek Na-Kyum’s confessions part 1 and 6) therefore he wanted people to question themselves and their values. The main points are the following:

– the contrast between appearances and reality

– the incapacity of communicating between adults and children and people in general

– the importance of relationships among people and to take care of them

– the sense of responsibility towards others

– the loss of true values due to money and power (represented by different kind of adults: the king, the drunkard, the geographer as scientist, the businessman, the vain man and the streetlight igniter)

In The Little Prince, the adults are portrayed in a pejorative way: their lives consist of dependencies (alcohol, the need of admiration, the greed to possess etc.), of loneliness and lack of feelings. The main protagonist might be the little prince, yet this fiction is told from the perspective of an adult. The narrator is an aviator whose plane crashed in the desert and there, he meets the little prince. Yet the story doesn’t start with their encounter, it starts with the narration about the aviator’s childhood. It is important as it represents the key of the story. Because of his bad experience with adults, the narrator decided to grow up and give up on his imagination and creativity. Antoine de Saint-Exupéry associates these values to innocence and childhood. In other words, the narrator was incited to give up on his childhood. The cause for this change were drawings. Once he painted an elephant eaten by a boa and the adults couldn’t understand the picture.

This is the boa with the elephant inside. Notice that the head and the eyes are on the right.

They rejected it as they claimed, it was impossible in reality. They forced him to drop his passion, drawing, because he always had to give explications to his pictures. That’s why he chose his career as pilot and became like all the adults, a pragmatic person using his reason all the time. In the whole book, adults are criticized, they prefer numbers over emotions and simple things like laugh f. ex. They are often portrayed as superficial and narrow-minded.

However, by meeting the little prince, the narrator rediscovers the importance of innocence and childhood. As a conclusion, one of the main messages of this philosophical tale is that adults should keep the inner child in them, they should stop using too much the reason and mind so that they are able to realize what matters in life. If you have the time, then I encourage you to read this wonderful work, full of deep meanings, although it really looks like a fairy tale due to the title and the pictures. In reality, the images are addressed to adults, to let them rediscover the child in them they abandoned because of reality. The author is encouraging people that despite growing up, they should keep an innocent and pure side in themselves, hence the readers discover this quote in The little Prince

“All grown-ups were once children… but only few of them remember it.”

We have a scene in the manhwa where the contrast between adulthood and childhood is illustrated. The children can indeed enjoy the beauty in simple things, while the scholar’s mind is only focus on his books and his hunger for power and admiration. Therefore he can’t really enjoy life as he is left unsatisfied with his situation. As you can observe, the manhwa offers a similar philosophy. Jung In-Hun is just an adult who lost his inner child a long time ago.

And now, it is time to focus on the characters from the philosophical tale. You can imagine to which person I am associating Yoon Seungho, it’s the narrator and aviator. He truly resembles Yoon Seungho a lot. He is an adult through and through, using his mind all the time. That’s why he doesn’t know happiness and joy. Furthermore, their situations are similar. The pilot is in the desert, feeling lonely and facing a dangerous situation. The main lead in Painter of The Night is lonely as well. He might meet many people but he doesn’t share his thoughts to others. Furthermore, his sex sessions are fights so we could say, he has to face a certain danger as well. He needs to live up to people’s expectations: an infamous hell-raiser. A desert is like hell and for Yoon Seungho life has nothing to offer. He is already living in hell. From my point of view, just like the pilot, he was also forced to grow up, to face reality and used his reason and mind to survive… and everything happened because of an adult, his father. I am quite sure that father Yoon never loved his son, just viewed him as a tool for his own interests. And when his life and position were threatened due to the purge, he chose to betray and abandon his son in order to survive. The latter became an adult through really bad experiences. He hasn’t even recovered from it yet, therefore his hand is shaking in Yoon Seung-Won’s presence and he keeps having a nightmare, the moment he meets one member from his former family. In fact, his inner child died at the moment he got betrayed by his own father so that he stopped living for real. He was like a zombie, the mind was the only proof that he wasn’t truly dead. His thoughts were the remains of his existence and this explains why he detests the idea that he is a man consumed by lust. For him, the body was just a tool thereby he never paid attention to his own body. His sex sessions were just a tool to deceive people, to hurt his father and ensure that he wouldn’t get wounded again. This explicates why he is no big eater, why he was even willing to give his whole lunch to the artist. He only existed through the mind and his eyes. That’s why he can’t see and recognize his own heart even after meeting the painter.

And now, you can already envision who the little prince is. This is our beloved Baek Na-Kyum whom I strangely related to a lamb during the first season. The irony is that when the aviator and The Little Prince met in the desert, the latter asks the aviator to draw him a sheep. Since the narrator hasn’t drawn for a long time, he paints an elephant eaten by a boa and strangely, the boy understands the meaning of the drawing perfectly. However, the boy is not satisfied with this and keeps requiring his sheep. By each new drawing, he complains about the picture: too ill, too old etc. At the end, the aviator designs a box telling him that the sheep was inside.

It’s the boy with the sheep inside. It’s naturally very small.

The little prince accepts the image with the explication. This outlines that only imagination matters in a painting. As time passes on, the aviator gets closer to him and rediscovers his passion and talent: drawing. They become friends without realizing it. Striking is that in both words, the painting is important. Sure, in the manhwa, the roles are reversed. The lord is the one asking the low-born to draw him erotic pictures. However, remember painting is related to imagination and creativity which are both associated to childhood by Antoine de Saint-Exupéry. And we know for sure that Baek Na-Kyum was inspired by his own creativity, when he started painting erotic picture of sodomy in his childhood. They were the expressions of his innocence and purity in the end, which the aristocrat felt. We could say that through the publications, the noble rediscovered the forgotten childhood and innocence. And this coincidences with the narrator’s life. The latter used to love painting but was forced to renounce his passion, painting. So by meeting Baek Na-Kyum, the lord is encouraged to paint again. (chapter 8) (chapter 23) (chapter 36)

On the other hand, the topic of Baek Na-Kyum’s painting had nothing to do with innocence and purity, as they were all showing sex. However, I interpret that the boy was longing for love, and already knew about his sexual orientation. He saw it as something natural and nothing embarrassing. In his eyes, sex was an expression of love, which was unusual for this historical period. Sex was related to marriage, family and procreation. With this signification, the manhwa sends one message: homosexuality is no abnormity, it is also a form of love. So when the aristocrat discovered Baek Na-Kyum’s erotic publications, he sensed the naturality, purity and warmth in these paintings. That’s why he felt so moved and he needed them for his sexual activities. Before, he had to use subterfuges to fake erections. This is no surprise when he meets the painter for the first time, he is full of joy and innocence. Remember when he even grabs the painter’s hands, he is treasuring them. There is indeed a certain candidness in his gestures and comments. The erotic paintings were the fire to ignite the main lead’s heart. The inner child was awaken. Therefore he is again happy like a little child, when the artist appears at his chamber in the chapter 8. Thanks to the painter, the lord’s heart started beating again. He was able to reconnect with emotions that were buried by his huge trauma. However, since he had to use strategies to force the painter to paint, he explained everything with his eyes and mind. Although the low-born rejected him in the chapter 49, the aristocrat overlooked an important aspect: The heart. Baek Na-Kyum’s heart is racing in the lord’s presence so this is definitely more than physical attraction. Another parallel with the French story is the value of responsibilities. The aviator and the prince become responsible for each other, while they live in the desert. And this is what is occurring in the manhwa. Yoon Seungho takes his responsibility for the low-born and it is the same for the painter. The latter is the one who offers comfort and warmth to the lord, only him can soothe the noble’s extreme emotions.

This is another form of responsibility

Since the painter is the little prince, we have to explain how he came to meet the aviator in the desert. He comes from a planet, where one day a rose suddenly appeared. Before, he worked every day, cleaned the planet. On his planet, he had to remove baobab seeds and to clean volcano chimneys so that they wouldn’t explode. And now, you can envision my smile, while writing this. Remember that from the start, I kept comparing the aristocrat to an dormant volcano, which erupted each time he was in a huge conflict with the painter. The latter was the spark to initiate the fire, he was the one who brought him back to life. However, the more time he spent with him, the calmer and the more patient our protagonist became. Notice that the little prince brought tranquility and regularity to his planet, as he cleaned the chimneys each day. This is exactly what is happening to our protagonist. Only the artist is able to calm the main lead.

Note the parallels between the little prince and the painter. Both symbolize innocence and purity. They are also hard-working and dedicated. They are social, although the manhwalovers shouldn’t forget that both the little prince and the artist came from a secluded place. The brothel is not a place where many children come by and where people want to chat with the gisaengs. As you sense, they were quite secluded, however they felt comfortable there. But if the little prince lived on his own on his planet and was happy, what made him leave his place?

If you look at the planet, you’ll notice a rose protected by a glass bell. The little prince fell in love with the rose but the latter was vain and quite arrogant. The flower requested a lot of things from the boy so that at the end, he couldn’t bear it any longer. He became unhappy as he was wounded by the rudeness and selfishness of the rose. At the end, he decided to leave her. The rose recognized her faults and even apologized. Finally she confessed her love to the boy, yet never asked him to remain by her side. She wished him happiness and tried to hide her tears before his departure. She regretted her behavior but she didn’t attempt to change the prince’s mind. She just complained that both were stupid to realize their feelings for each other. However, in this story the boy only realizes that he felt love for his rose after landing on earth. It took him a long time to recognize what love really is. For that, he needed a guide. Now, if the manhwalovers compare the philosophical tale with Painter Of The Night, they’ll detect some parallels between the rose and the scholar. Both represents the love of the innocent main lead. Furthermore, Jung In-Hun and the rose are arrogant, stupid, vain and selfish. The painter had to leave the scholar’s side too. However, the huge contrast is that the teacher never regretted anything, he felt no remorse for the physical and emotional abuse on the painter. Besides, he never cried for the low-born, while the rose was genuine. Nonetheless out of pride, the flower tried to hide her tears and sadness. With the departure of the prince, it is implied that the rose will die as there is no one to take care of her. She is already coughing. However, like I explained before, the low-born mistakes his admiration for love. His mind has been manipulated and influenced by the low noble and his noona, hence he is blind to the obvious. Just like our powerful protagonist, both ignore their hearts. One doesn’t know that his heart is beating again, while the other was constantly repressing his deepest desires at the beginning. He wouldn’t listen to his heart, just only his mind which was actually the scholar’s mind. Now, it is a little different. He is accepting his sexual desires, the mind is no longer controlling his body. However, the painter hasn’t recognized the meaning behind the racing of his heart.

Just like in the philosophical tale “Candide”, the little prince is learning through experiences. After leaving his planet, he meets different kind of adults, all of them living isolated on a planet. His initiatory journey makes him realize the danger of adulthood. The first one is a king who gives orders to the little prince. The latter questions his position as king, as there is no one else next to the king. The latter believes his power is unlimited and doesn’t recognize the absurdity of his situation. Here, the author wanted to criticize the futility of power. A person can’t truly rule over nature as he can’t control it. Then the monarch can’t truly rule over people as the latter can just refuse to obey the orders. Strangely, I couldn’t restrain myself to associate the king to our protagonist Yoon Seungho as well. The latter had to learn through the hard way that his power meant nothing in front of the painter. The latter kept rejecting him, criticizing him and even challenging him with his authority. It took him a long time to realize this… he was on the verge of abdicating, when he finally changed his approach. Observe the painting is what brings them back together. This is no coincidence, since imagination and creativity are important for children. Then if I had to compare all the other adults, I would say that Jung In-Hun is a combination of the geographer and the conceited man. The former lives in his books and makes no experience, he doesn’t visit the places he reads in his books. He has no idea about real life and the conceited man lives in order to get admired. The scholar is often seen in company of books and has no idea about the real world, therefore the lord warned him before his departure to the city. As for the conceited man, since he is alone on his planet, he is left unsatisfied. And we all know how arrogant and conceited the low noble is. The two adults represent each of them a negative feature which people should avoid in their life. Knowledge is good but without experience, it is reduced to nothing.

As you can sense, the little prince and the narrator stand both on opposite sides, yet after their meeting, they discover what they were both missing which coincides with our protagonists: childhood/innocence versus knowledge/experience. The pilot rediscovers his creativity and innocence but he shares his knowledge and experience to the little prince. This is the same with Baek Na-Kyum and Yoon Seungho. Besides, both of them stand on the opposite side of the social hierarchy reinforcing the contrast. In other words, they both change for the better. While the lord teaches the painter critical thinking, the former experiences what it means to take care of his partner. He makes many experiences, positive and negative, yet from them he is able to learn and change indeed for the better. While the pilot realizes the importance of friendship, as the boy becomes his companion and confident, the lord feels the same need: he wants to share what is on his mind… he would like to communicate his thoughts and feelings. As you can sense, the noble was not realizing that he desired to share his heart.

On the other hand, the prince makes on earth a huge discovery: he learns what friendship and love are. How does he know these?

Before encountering the pilot, the little prince meets a fox. The former tells him that he is looking for friends to which the fox replies, he can’t become his friend as he is not tamed. Hence the animal proposes a deal to the boy. The latter should tame him as taming signifies bonding. “if you want a friend, tame me”.

Le Petit Prince et le Renard : "Qu'est-ce que signifie apprivoiser ?" –  Umanz

Now, you can observe how similar both works are. Right from the start I kept saying that the painter has been slowly taming the protagonist, an eagle, and the latest chapter (53) proves me that this metaphor was totally correct. The painter tamed Yoon Seungho, was even willing to get wounded in the process in order to soothe the lord’s anger. The hug signifies their special relationship. The huge difference here is that taming is not connected to friendship but to love. However, as you can observe, the protagonists in both stories are making the same experiences. They learn the true value of love and friendship, they make bad experiences. One encounters terrible adults which resembles a lot to the painter’s past tragedies. The main lead made him suffer, yet everything was caused by the scholar… Remember that if the rose had treated the boy nicely, he would have never left his own planet. On the other hand, Yoon Seungho is discovering the innocence and purity through the painter. He comes back to life, as he reconnects with his inner child and his heart.

Another similarity is when thanks to the fox, the little prince realizes how unique his rose was:

“It’s the time you spent on your rose that makes your rose so important.”

And unique reminds us of the lord’s word at the beginning of the chapter: “special”. He refused to admit that Baek Na-Kyum was special to him.

The fox plays a huge role in the philosophical tale as he embodies knowledge and wisdom. In other words, he is the opposite of cunningness, which is usually related to the fox. Now, you already anticipate who the fox in Painter of The Night is. It’s Min. He is the one who tells Baek Na-Kyum and Yoon Seungho what the lord feels for the low-born. Yet, in this story, Min is far from wise and well-intentioned. That’s why he kisses the painter. Through his gesture, he reveals the secret. The lord likes the painter. In The Little Prince, the fox also unveils a huge secret:

“It is only with the heart that one can see rightly; what is essential is invisible to the eye.”

Striking is that his nickname “Black Heart” fits so well. Since he sees with his heart, he can recognize the true nature of their relationship. The problem is that neither the low-born nor the powerful lord were using their hearts in order to perceive their affection for each other, both were using their mind:

This is what the painter tells to himself. Notice the word “mind” here.

The lord confuses his mind with his heart. And the painter is in the same situation. He got hurt, when he saw the kiss between Min and his lord. However, he tried to rationalize this incident. He shouldn’t feel wounded. On the other hand, he kept asking why. As you can see, the painter’s mind is controlling his heart. I had the impression that he would be the first one to recognize his emotions, because he is the only one who talks about his heart. Notice the resemblance to the famous citation. The artist mentions his eyes and heart, just the the fox: “It is only with the heart that one can see rightly; what is essential is invisible to the eye.” Yet, I had underestimated the strength in the artist’s will and mind. That’s why I come to the conclusion that Baek Na-Kyum values more his eyes and impressions than his heart.

Thanks to Min, the fox, the secret was finally unveiled.

However, I have the impression that unlike in the French novel, a rivalry could start between Black Heart and Yoon Seungho. In The Little Prince, the aviator and the fox didn’t fight against each other because they were too different. Yet I believe, this could become different here, for both are nobles. Back then I felt, Black Heart might try to covet the commoner, since he kept asking the lord to bring Baek Na-Kyum to him (chapter 33, 52). Sure, he enjoys the fun and likes playing with the protagonist’s feelings, yet I sense a certain obsession and envy behind his requests. I can’t forget the look he had on the painter in the chapter 8. Min looked at him with a certain desire. And this assumption was proven correct: The Joker is determined to taste Baek Na-Kyum. However, he is not wise like the fox in The Little Prince. In truth, he embodies the negative version, because he is not reflecting on his own behavior and emotions. He has no idea why he is so obsessed with the painter: for me, there’s no doubt that he is confusing lust with love. He definitely got upset, when he saw the couple hugging each other tenderly. That’s why he felt the urge to vomit. Min is too focused on looking at Yoon Seungho and Baek Na-Kyum that he is not recognizing his true motivations behind his actions. That’s why he said this: In my opinion, The Joker needs the presence of others in order to feel his own existence. In other words, while the fox in the original story asked the prince to tame him, the fox in Painter Of The Night is acting the opposite. He is trying to tame the others, but he keeps failing all the time.

As you can observe, both works convey similar messages: value the right things. Power and wealth mean nothing, as they don’t bring happiness. Love, friendship and relationship are vital for humans. At the same time, it is important to keep a certain purity and innocence in us, even if we are adults. That’s exactly what the two protagonists are learning now. The noble is longing for chastity and love, although he hadn’t recognized it yet.

At the end of the story, The Little Prince leaves the aviator behind. Officially he goes back to his planet but since a snake bit him, we can wonder if he died. The adult would be rational and say yes, he died. The child would answer that he returned to his planet in order to see his rose, like the snake told him. And this is important as even this story mentions death. This belongs to the growing up and facing reality.

We have a similar evolution in the manhwa. The painter loses little by little his innocence, he experiences the harshness of the world, whereas the lord is rediscovering the lost childhood, his buried heart, just like the aviator.

At the end of the story, the narrator says that he is still looking for the little prince, even asking the readers if they saw him which shows, he refuses to imagine his death. He has maintained his pure heart despite their separation. Besides, when the aviator looks at the stars in the sky, he always thinks of him. As you can see, the aviator doesn’t forget his “inner child”. He is an grown-up after all, yet he shouldn’t forget his inner child. However, Painter Of The Night can’t have the same ending. Therefore, it is no coincidence that the moment the noble admits his love and is willing to show it correctly (chapter 70) , he starts acting like a child again: he plays pranks (chapter 70) (chapter 74) or he is teasing his lover. , These are signs of the return of his innocence. The readers can feel the inner child in Yoon Seungho.

Nevertheless the message is really similar: the lord and the painter are discovering what really love is. While the painter confused “love” for Jung In-Hun with admiration and later indoctrination, the noble never felt anything before. That’s why he couldn’t recognize his affection for the low-born, he was denying the existence of his heart. For him, he was just a mind and his body a tool. As a conclusion, they need to pay attention to their hearts and stop relying too much on their mind. That was the lesson the readers should learn from the chapter 53.

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 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: The mirror of truth?

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.

Now, you might be wondering what I am referring to behind this title. Before explaining the topic of this short essay, I have to explain why I came to this title. Only yesterday it just occurred to my mind that I had neglected an important aspect in the chapter 49: the lord embracing the painter.

I love this drawing because the manhwalovers can sense the affection, sensuality and tenderness in this hug accompanied with a kiss. Suddenly I remembered this image from the chapter 28:

They look really similar, right? In the chapter 28, the painter received a mirror and had a sort of hallucination, where he saw this. Back then, I had analyzed this drawing concerning the mirror and its functions. I am adding the link to the former essay for interested readers, in case they missed it:

There, I explained that in literature, the mirror plays an important role and I listed its 5 functions:

  1. to perceive his true self and personality;
  2. to predict the future,
  3. to reveal desires and illusions
  4. to outline beauty, vanity and superficiality
  5. to reveal truth, reality and as such wisdom

When I examined this scene for the first time, I tried to define if this reflection was a prediction of the future or if it revealed the painter’s deepest desires which he was trying to repress all the time. Now, we can definitely say that the mirror announced the future for the embrace of the two protagonists occurs in the chapter 49. That’s why I interpret the veil on the right side (second picture above) as a sign. The future was unveiled to the painter which he rejected in the first place. However, despite his resistance the artist couldn’t fight back. We could even say that he was fated to be embraced by the lord. Consequently this “reflection” in the mirror has become a reality, yet just for a brief moment, as their relationship is still instable.

If you pay attention to the drawing, where the painter witnessed the “hallucination”, you’ll note two details. Not only the hug happened but also the location is the same reinforcing my interpretation that this dream was a prediction of the future. They are indeed meeting in the painter’s room during the night.

Moreover, the artist’s action is the same: he hugs back the lord showing his hidden emotions. The painter couldn’t escape his fate, the mirror told him that he would fall in love with the aristocrat. Striking is that in the chapter 49 the commoner is still unaware of his own feelings for the noble. Nevertheless, this is only a question of time, until he realizes his affection for Yoon Seungho. As you can see, the mirror announced him his future and simultaneously it even told him the truth. His repressed desires were existent and despite his denial, he would never be able to erase them. His ignorance was quite futile in the end.

Now, you can understand how I felt, when I suddenly remembered the vision from the chapter 28. The announced embrace in the mirror became a reality. The only differences are the kiss and the way the painter sits on Seungho’s lap. These divergences could be judged as a sign that the hallucination was the expression of the painter’s unconscious. The reality shows that the noble’s feelings are even stronger than Baek Na-Kyum could ever imagine. His head is even higher than Yoon Seungho’s indicating that he occupies a bigger place in the lord’s heart than the artist could ever anticipated. To me, the lord literally venerates the painter which can be seen in the following picture. Observe that the lord has to look up to the low-born and he is not offended at all. He is waiting with the hope that Baek Na-Kyum will finally admit that he has some feelings for him. It was as if the main lead had put the artist on a pedestal. The embrace in the chapter 49 is even warmer than the one in the chapter 28 as there is less darkness in the room. The candles in that chamber symbolize the love and warmth, while before Baek Na-Kyum had been left behind, all alone in a dark room. Consequently he couldn’t believe that this hallucination would become true and even would represent his deepest desires.

At the end, I conclude that the manhwalovers should view this mirror as the mirror of truth. It announced to the painter that despite his struggles, he was fated to be with the protagonist and it even told him what his unconscious kept telling him since the chapter 2. He was definitely attracted to the aristocrat.

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: Imagination and speculations

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 this essay, I won’t analyse anything but rather speculate, what could happen in the next chapter or even, what could happen during that night. I have the feeling that this night will be a long one, therefore my assumption is that Byeonduck must have planned a few chapters for this night.

However, my main focus won’t be on Min as I have already expressed my thoughts on this topic. My prediction is that he will die. We have many possibilities for the execution, like for example Yoon Seungho picks up his sword and slays him. Remember that I connected the last picture to the scene in the bathroom, where he replied to the painter this: . Observe that he is standing at the door, totally furious and even jealous. At the end of the chapter 52, the lord is also standing at the door as well, definitely infuriated for his gaze betrays his emotions. Yet he is saying the opposite of his true thoughts because he is standing in front of a double-faced and vicious aristocrat. In the chapter 26, he revealed his true intentions as he has always been frank and straightforward with the painter. Since he knows and values the artist’s honesty, he acts the same. That’s why I came to this idea. But the problem with this idea is that Yoon Seungho would be suspected. Since he once declared to the painter that no one would connect a noble’s death with him, we have to envisage other possibilities. The protagonist has to be seen elsewhere. In order to divert attention, he needs to create a huge scandal. Therefore if a sword is used, then Nameless could be involved and they will frame the guest who is high with the excuse that he acted under delirium.

Then the opium could be the cause of his death either: an organized overdose of drug so that it would look like an accident and the one who bought that illegal drug would be blamed. This idea was inspired by two sources. First it was the remark of a reader who saw in the gesture of the protagonist’s hand the desire to strangle Black Heart. So from strangulation, I came to suffocation, the impossibility to breathe. I couldn’t restrain myself from associating asphyxiation to the first picture of the chapter 52, when the evil aristocrat is smoking with his mouth wide open and his head is looking up. This picture made me think that this could be the position Min has, when he dies. He tries to breathe with his mouth but is unable. He is either strangled or suffocating due to the overdose of opium. In any case, I suspect that one of the guests will be held responsible for Min’s death.

Right now, Seungho is supposed to be on his way to the painter’s chamber meaning that he is actually following the artist’s footsteps. I don’t think, Seungho remained for a long time in his room because the conversation between Min and Seungho is quite short.

When the low-born returns to his room, he catches Deok-Jae ruining his room. The readers can conclude that the domestic didn’t expect the painter to return so soon, since there is a question mark and he adds: „Dammit“. Because of this, I assume that the servant spied on the low-born and observed him going to the noble’s bedchamber. Therefore he imagined that the artist would spend the evening with the lord. For him, the master is just a man consumed by lust, hence he won’t send away the artist. I have to admit that my first thought was that Baek Na-Kyum would leave the mansion again, either on his own will or forced. However, I changed my mind as we already have three escapes from the low-born. The first one takes place in the chapter 4, where Yoon Seungho can stop him. Then we have another desertion in the chapter 29 and the third departure was mentioned in the chapter 46.

Since we have a ruined room, I couldn’t help myself connecting it to the chapter 29 and 30. Before fleeing from the mansion, the commoner destroyed the mirror. All this was discovered by the lord the next morning. His reaction was terrible: he was so enraged that he started beating all his servants since they hadn’t noticed the commoner’s escape. The staff should have kept an eye on him. And note how many parallels exist between the chapter 29/30 and 52:

1. A trashed room

2. The role played by the servants: they should observe the painter and they got beaten. In the chapter 52, Deok-Jae spied on the painter.

3. The lord’s anger

4. The painter goes to the lord’s chamber (after his return from his breakout)

5. The change of clothes (he dropped the green robe and took his own pink jacket)

One might argue that the desertion is still possible as I am anticipating that the chapter 53 could be a new version of the chapter 30. My problem with this thought is the timing. The time between Baek Na-Kyum left the lord’s chamber and the noble departs from his room to go to the painter’s is quite short.

Since in the chapter 30, the manhwalovers witnessed Baek Na-Kyum’s pledged alliance before getting dragged to the lord’s room for a sex marathon, I have the impression, the manhwalovers could witness a new version of the sex marathon, especially if my theory is correct that the author might have developed her chapter 53 as a reflection of the chapter 30. However, there will be a huge variation: the chronology. We have a change of clothes, then the visit to the lord’s chamber. Finally the low-born discovers his ransacked room, while the lord is angry due to Min’s words and behavior. This divergence will lead to a different outcome.

This time, the lord is going to the painter’s chamber, in other words he is following his lover’s steps. I can’t imagine that he will drag the painter to his chamber, where the other nobles are. Therefore he will remain there and listen to the argument between his wife and the domestic, just like he did in the chapter 38. He only intervened, when he saw that the maids were still looking down on the commoner. Back then, the aristocrat had to warn them. I envision that the lord will intervene the moment Deok-Jae starts getting violent. Because of that, Yoon Seungho could decide to drag the servant and punish him for his behavior. We would still have a dragging, like in the chapter 30 but this time, the person is different and the lord has a reason. Deok-Jae committed a crime. Yoon Seungho could grab the domestic by the topknot and punish him, like he did with Jihwa. Yet, I have the impression that Baek Na-Kyum could act differently and no longer remains passive, like in the chapter 18. This time, he pleads for leniency.

When the painter catches the domestic in the act, he is shocked.

He wonders about the servant’s reaction and from my perspective, the artist won’t behave like in the past, where he let the domestic say and do everything he wanted. He never replied and criticized him for his attitude. From my point of view, the low-born has really changed, has already rediscovered his identity and found a certain confidence. He is now part of the mansion hence he needs to be proactive. He hasn’t forgotten the valet’s words: he is not a spoiled princess and as such, he can’t expect rescue from anyone. He needs to fight for his own place. My prediction is that he will question Deok-Jae about the reason for his action. As we experienced in the chapter 52 how the commoner would even question the lord’s actions and behavior. His mind is already proactive, he uses more and more critical thinking. I sense that the moment the domestic gets violent, the noble intervenes but the jealous man is spared instead of getting beaten. Despite his wrongdoings, the artist will ask the master for leniency after confronting him. Remember that Baek Na-Kyum saved Jung In-Hun’s life back then. This could be the new version of the painter’s plea.

On the other hand, the painter won’t be scared like in the chapter 30 and will confront his husband and ask him for the reason behind his change of behavior and what is his position at the mansion. The former could even interrogate his “husband” if he has to leave the mansion, since he has no interest in the painting. While we had the artist submitting himself to the lord in the chapter 30, I envision a renewal of this alliance, yet under a different form. The painter could confess to the noble for real. Another possibility is that since Yoon Seungho is questioned, the aristocrat decides to be more open about his feelings and we have a mini-confession from the lord. He could use Wang Bang Yeon’s poem… if this theory is correct. Back then, the aristocrat wanted the painter to draw new images of their intercourse and he requested from him to pay attention to his own facial expressions, since they were lacking. Remember that was the reason why the protagonist sent the mirror to the painter’s room. From my point of view, the new work reflects the painter’s emancipation. His face is drawn properly, you can identify him on the drawing. Furthermore the visage is not expressing pain or fear but pleasure, which is quite strange because if you look carefully at the new picture, Baek Na-Kyum chose the position where he expressed fear and pain. That’s what the readers got to witness. However, I believe that the painter wasn’t feeling real pain in fact. He was more scared of his own reactions, feeling pleasure. We shouldn’t underestimate the power of the brainwashing and the criticisms expressed by Jung In-Hun. I interpret that the painter must have felt pleasure but refused to admit it. He chose to act like a whore following the teacher’s words so that he could still deny that he was a homosexual per se. As a prostitute, he had been forced to sex, hence he shouldn’t feel any ecstasy. It was an excuse, a subterfuge for his own conscious. Deep down, a part of him wanted to keep following the scholar’s words. Due to the lord’s action, the painter had a breakthrough and finally dropped the teacher’s doctrine for good. And in my opinion, the painting is reflecting this.

Strangely, Baek Na-Kyum realized that this intercourse left a huge impact on him. It forced him to accept that he was feeling pleasure which the painting clearly expresses. That’s why we have this weird confession ending with “I feel good”. Since he chose this, this means that he doesn’t resent the protagonist for his past behavior. From my point of view, despite the mess in the room, I can imagine that there will be a sex marathon again, yet a new version. For me, Yoon Seungho has to have sex there because it shows his willingness to go to such length to get the painter’s love. He would break a taboo since this has never happened before. We have to remember when a noble slept with a maid back then, the latter would spend the night in the lord’s chamber. This is what usually happened. So far, they had sex in the painter’s chamber without people knowing about it. The servants could only witness their special relationship, when the artist spent the night in the lord’s chamber. That’s how it even started. They never saw the Wedding night nor the last sex scene in the chapter 48-49. Even the merchant got to see the painter leaving the lord’s room. Their special relationship got official, the moment the artist was in the lord’s room during the night or day. Making love in the painter’s room would create a huge scandal, because the opposite usually happens. At the same time, this would humiliate the guests and especially Min. The latter wouldn’t accept to lower himself and go to that room, since he kept telling his host that a low-born is just a plaything. By making sure that people witness how the noble remains in the painter’s chamber, he would get an alibi for Min’s death. Deok-Jae would be spared but this would create a new occasion for the painter to become a target.

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: Portraits (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:

In this analysis, I’ll study the portraits of two important characters from the chapter 52: Min and Yoon Seungho. This time, the drawings will be in the center of the study. Yet, in order to be able to describe these two figures correctly, I have to include other chapters and their relationship to Jihwa and Baek Na-Kyum too.

What caught my attention is the way Byeonduck chose to introduce Black Heart’s return.

We only witness a man’s mouth from which smoke is coming out. Since the author didn’t draw the eyes, the readers are unable to recognize the person. As you know, eyes are relevant in order to determine a person’s identity. From this single picture, we could already gather a few info about the figure’s personality. His mouth is wide open and even without seeing his gaze, we can clearly determine that he is looking at the sky due to the orientation of his head and mouth. Due to the comment and the way the mouth is open, I can clearly sense that the man is enjoying smoking. He is not really paying attention to his surrounding, as his face is turned towards the sky. He is taking his time because of the pleasure he takes from that smoke.

Because we all know now, this person is Min, I detect that this drawing reflects his personality so well. Therefore the author chose to introduce him like that. As you are well aware, in this manhwa each drawing has a special meaning. Now, if the manhwalovers take a closer look at the image, they can imagine that the head’s position and the mouth have an important signification. His mouth wide open makes me think of all the disguised insults he said to Yoon Seungho and Baek Na-Kyum. The smoke of opium in the first drawing reminds us of the poisonous words Min voices in that chamber. Observe that during the scene in Yoon Seungho’s chamber, he keeps talking all the time. He is not even waiting for Yoon Seungho’s answer. There is a reason to this. His words resemble the arrows he used during the hunt. He had to use many arrows in order to really hurt the pheasant. However the protagonist was the one ending the suffering of the wild bird, by killing him with his own hands. That’s why I conclude that Min’s mouth is full of poison, just like the opium, and his words are like arrowheads. Consequently he keeps stabbing from a certain distance, thinking himself safe. Because of the connection with the chapter 41, I have the feeling that Min considers the main lead as an easy target, for he views him as a pheasant. In an earlier analysis, I had imagined, the pheasant was Jihwa. And this interpretation was confirmed with the chapter 43 and 67 In both episodes, he used his words to poison the second lead’s heart and mind, so that the latter would suffer so much. Remember after each suggestion, the noble felt so tormented: chapter 51 and chapter 76 . He is so plagued by his existential fear and remorse that he feels like dying. But as you can imagine, due to my previous analyses and the evolution of the story, I would like to add another signification. From my perspective, we should consider Baek Na-Kyum as the pheasant too, for both ukes are mirroring each other. By living next to Yoon Seungho, the painter was slowly metamorphosing. Therefore I come to the conclusion that Baek Na-Kyum was indeed the deer in the first hunt. The scholar’s words were represented by the arrowheads and the lord’s sword symbolized his phallus. In other words, the first hunt announced the rape and the painter’s loss of innocence in episode 25 and the lord’s abandonment in chapter 40. As you can observe, the chronology of the hunt was not respected. But this interpretation allows us to be able to predict the future season and Black Heart’s personality. Since the two main leads are going through a metamorphosis, it signifies that this phenomenon will occur to Jihwa and Min as well. Since Min believes that the main lead is an easy prey, this signifies that he considers the host as a pheasant too. Moreover, I think that the vicious noble has the impression that he is similar to Yoon Seungho, that’s why he can understand him so well. Therefore he views himself as a pheasant, but in this battle for the painter, he attacks his rival with his beak, similar to the arrow points, unaware of the main lead’s true nature. The latter is a phoenix, based on different essays. This mystical bird embodies fire and passion – the flames of true inspiration. Moreover, it brings good luck, harmony, peace, balance, and prosperity. This signifies that by defying the phoenix, Min’s fate is doomed. His fight against him will bring only misfortune and destruction. Hence Heena’s words (chapter 68) seem to be true: Yoon Seungho will ruin misery to his adversaries. But in chapter 52, the noble had not gone through his spiritual death. That’s why the Joker had the upper hand in episode 52 and could hurt the main lead’s heart. As you can observe, I felt this chapter was announcing Min’s chronicle of a death foretold. And this perception was confirmed with chapter 76. His addiction to opium is already destroying The Joker, therefore he vomits and he loses his temper in front of Nameless. Observe the contrast with chapter 52, where the vicious noble controlled the situation and cornered Yoon Seungho. Black Heart was calm and vicious, he had the upper hand, whereas the opposite happened in chapter 76. But let’s return our attention to chapter 52. Yoon Seungho was put under pressure, thus the latter avoided Min’s gaze and remained silent, until the main lead gave in:

Since Min’s head is turned to the sky and not to the surroundings, it reinforces my impression that the aristocrat is actually blind. Besides, we don’t even see his eyes, reinforcing this interpretation. Although he noticed the lord’s beautiful hanbok, and tried to imitate the noble’s style the next morning (chapter 56), he wasn’t able to copy him entirely. This was a poor imitation. In other words, the Joker is short-sighted. He was able to defeat the protagonist in chapter 52, yet the one who definitely put the final blow to Yoon Seungho was not Black Heart, but the painter. His words in chapter 54 definitely wounded Yoon Seungho’s heart: (chapter 54). That’s why we could say that chapter 54 was a new version of the rape scene. Yet Min was not able to achieve his goal, for the main lead was confronted with his own reflection and his traumatic past: (chapter 54). Contrary to the first season, Yoon Seungho was able to stop before repeating the same mistake. And this is not surprising that the next morning, the noble confessed to the artist. He had been in truth defeated by the artist. The roles had been switched. And now, you comprehend, why we have two painful nights (52-53-54/62-63-64)) in the second season. They both represented the hunts from the first season, yet the roles had been reversed and the actors were different: Kim and The Joker. In chapter 68, valet Kim wounded his master with his words in order to undermine his judgement and as such destroy him.

The final observation on this picture about Min is the following: the absence of his head. To me, it was as if the aristocrat was brainless. He uses his mouth and doesn’t think very deeply about his words. He knows the power of words, yet he is overlooking his surrounding and as such his opponent. In other words, this image reflects Min’s arrogance, thoughtlessness and blindness. In my opinion, he is making the same mistake than Yoon Seungho. He is confusing the heart with the mind. While he has the impression, his decisions are consciously made, they are in reality influenced by his heart and unconscious. This explicates why he will be defeated in the end. On the other hand, I believe that neither Yoon Seungho nor Baek Na-Kyum will be the one killing him or giving him the final blow. Remember this scene in chapter 60. Nameless proposed to Jihwa to become his hands (chapter 60), therefore I deduce that Nameless will become Yoon Seungho’s hands. The final episode already exposed the animosity between Black Heart and Nameless. Besides, the latter had to threaten the commoner: (chapter 60). But in order to get rid of Min, Nameless will have to get the support from Yoon Seungho. In other words, the latter could be the one giving the execution order. I would like the readers to keep in mind the protagonist’s words from chapter 11: . And the criminal behaved exactly like in chapter 54. He killed Deok-Jae and no one dared to suspect him. (chapter 54) That’s why I am expecting a new version of this scene in the third season, and in my opinion The Joker will be the victim… let’s not forget that in Yoon Seungho’s words (chapter 11), the scholar’s life was threatened. This means, a noble will be targeted in the future. As a conclusion, I am predicting Black Heart’s slow destruction and final death. But he doesn’t turn into a beautiful bird like Yoon Seungho (phoenix) or Baek Na-Kyum (from a deer, he metamorphosed into a pheasant before becoming a crane!). Min has already transformed into a crow, consequently he wears a black hanbok in the final chapter 76!

Now, I would like to compare this picture to Yoon Seungho’s images shown in the chapter 52. Since we had three important gestures in Min’s drawing (smoking, the expression “huu” and the zoom on the noble’s mouth), I chose similar drawings.

In the first selected picture, the manhwaphiles observe the powerful noble smoking with his head up, he is looking at the ceiling. However, you’ll notice a huge difference with Min’s, he moves his gaze to the ceiling after looking at Min (the gesture of the hand). We had the following pictures before: This is important, as it contrasts to Min’s gesture. The lord decided to look up, because he was wounded. He acted, as if he chose to ignore Min’s attacks. This stare at the ceiling was not connected to fun, rather to faked indifference and pain. His heart was wounded and he was trying to hide his vulnerability. At the same time, I also believe that he was also pondering, wondering why the artist came to visit him, although he had never asked for him. From my point of view, Black Heart’s poisonous words created a certain insecurity in him. Let’s not forget that in that scene, Min was describing the artist as a man consumed by lust. Besides, his butler had revealed to him that Baek Na-Kyum had become so easy, as he was now viewing himself as a prostitute. In other words, Yoon Seungho felt insecure and doubted the artist’s innocence. The position of his head symbolized the opposite, deep thinking, while it represented Black Heart’s carelessness and confidence, contrasting to Yoon Seungho’s doubts and mistrust. Min was not noticing his surrounding, as he was too focused on his own pleasure, while Yoon Seungho was looking up on purpose. The host was actually attempting to avoid Min’s arrows hurting him. Min was criticizing the main lead, insinuating that he was a killjoy. If he hadn’t sent away the boy, they could have fun. But the lord’s gaze remained cold and indifferent, because his mind and heart were elsewhere. He kept thinking about the motive of the painter’s visit. That’s why he couldn’t react to the fellatio imagining the possibility that Baek Na-Kyum might be after pure sex. Let’s not forget that in their last encounter, the artist had stated that he loved having sex with Yoon Seungho, leaving the impression that only sex mattered. As you can sense, the painter’s words combined with the butler and Min’s comments could only portray the artist as a “prostitute” or a man consumed by sex. Since the whole head of the lord is shown looking up, this was not a sign of brainlessness, quite the opposite. That’s why his mouth was closed and the reader also viewed his whole face. This picture showed that Seungho is smart and thoughtful, but also very emotional, as we could also see his chest, where the heart is. Furthermore this is no coincidence that there was no smoke coming from the lord’s mouth. Here, he was not smoking for fun, it seems to help him to ponder. During the petty attacks, Seungho didn’t say a single word. It was, as if he considered, he shouldn’t spend too much energy and words for Min. However, deep down he was getting more and more wounded. I remembered, when I read this chapter 52 for the first time, I couldn’t help myself getting upset about the lord’s final reaction. He chose to follow Black Heart’s suggestion. However, now I am realizing that I didn’t take into account Yoon Seungho’s wounds and insecurities. Due to the past incidents, he had got a false image of Baek Na-Kyum as well. In other words, Min didn’t get a reply, for the noble was trying to hide his vulnerability. That’s why we have only suspension point (…) in three pictures before there is a real sound coming from the protagonist’s mouth: The sound of a pain. Therefore the “ha” had a different meaning contrasting to Min’s “huu”. This was not a sign of excitement, rather a certain despair and heartache: “Why did the painter come to my chamber, when he must have heard, I had returned to my older self, a man consumed by lust?” The irony is that Min believed that this response was addressed to him. Therefore he increased his assault, he continued insulting his host. He was targeting the noble’s pride. Let’s not forget that despite his bad reputation, the aristocrat never cared about his own image so far, as he always considered him as a ghost. But now, Min was confronting him with his reflection directly. He was not acting like in the past. Does this mean that Baek Na-Kyum had become his weakness? Let’s not forget the long coercive persuasion Yoon Seungho was exposed for a long time. If he admitted that Baek Na-Kyum was his weakness, then this meant that he had been defeated… but more importantly, he could become the aristocrats’ target in the future. The readers will also recall Nameless’ words to the painter: (chapter 66). the nobles would always fight against each other. This explicates why Black Heart had the upper hand in chapter 52 and why the main lead remained passive and silent for a while. He was applying what he had been taught: hide any weakness…. yet in this scene, the lord was definitely in pain. Then the author zoomed on the lord’s mouth, like she often does. Like before, this picture stood in opposition to Min’s. While the latter’s mouth was wide open and expressed joy and poison too, Seungho’s mouth was close because he can’t reveal his true thoughts and emotions. Furthermore, I sense, that the taking on the mouth is associated to pain, contrasting to Min’s fun. “Precious treasure” hurt the lord, as it revealed his weakness. And now, you comprehend why the lord was in denial in the next chapter 53. The reality is that Baek Na-Kyum was already his precious treasure, but he was in denial. He was behaving like the painter in the end. While the latter was raised to deny his sexuality, the aristocrat was taught to deny any affection, a symbol for exposure. He could lose a war. Hence he couldn’t treat the painter like that, since he was a low-born, according to Min. That’s why Black Heart used the idiom “as if”. The arrogant aristocrat was actually reminding his host that he was a noble, he had to maintain dignity. The low-born could only be a toy for fun and nothing more. By having sex with the low-born, he reminded Yoon Seungho of his position and the social norms. Notice how The Joker used social norms to achieve his goal. His true purpose was to taste the painter and Yoon Seungho was able to see through him. In other words, the protagonist had the impression that he got the upper hand in the end. Black Heart had revealed his own “desire” and as such “exposure”. By giving in, Yoon Seungho was deceiving himself. His mind was telling him that he had found the perfect tool to control Min, while in reality he was playing into Black Heart’s hands. And now, you can understand why Yoon Seungho was infuriated, although he was smiling. His fury was already palpable, the moment he stood up so suddenly and opened the door violently, although we didn’t see his body. He was definitely telling himself that he was just a ghost and had no heart. Striking is that Byeonduck chose not to reveal his pain and anger with his gaze, because she knows that his gaze betrays his emotions. She wanted him to remain a mystery to the readers. They have to decipher his actions. We could only feel it with the close mouth and the following drawing: I believe, there was another reason why he didn’t reply to Min’s last reminder. His contained emotions made him speechless, therefore he could only unleash his negative thoughts and emotions by opening the door with such force. During that instant, he has the time to control his fury and could start acting again: That’s why the chapter ended like this. He was acting. His mind was controlling his behavior and facial expressions. His words and smile were just part of his deception. However, the gaze revealed his true thoughts. The eyes and the frowning eyebrow exuded ferocity and revenge in my opinion. There’s no ambiguity that Min will pay for this reminder in the future. The positions will be switched. I am expecting this, since Yoon Seungho is no longer caring for traditions and standard, Yoon Seungho won’t deny in front of The Joker that Baek Na-Kyum is indeed his precious treasure, even if he is a low-born. In chapter 52, Seungho was defeated, because he felt insecure and had a false perception of the painter. However, the chapter 76 put an end to this uncertain situation. Baek Na-Kyum was seeking his closeness and was no longer treating him as a sex toy, but as a family member. Both have become each other’s 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 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: 🖤 Black Heart (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. 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 first part, I examined the beginning of chapter 52 very closely so that I could give a better portray of Min, the so-called “Black Heart”. Consequently I came to the following results: Min approached Yoon Seungho with the intent to overthrow the alpha from his “throne”. He used his connections among the nobility to get intelligence about the main lead and then he approached him. Furthermore he influenced the aristocrats to generate rumors so that Yoon Seungho’s reputation would be destabilized (chapter 33 / chapter 43). Although Min is a manipulator, he places pleasure and fun in the center of his life. He has no sense of morality as he doesn’t feel any remorse committing wrongdoings (smoking opium so openly, though it is illegal; inciting Jihwa to have the painter killed). He is arrogant and feels entitled due to his social status. Not only commoners are below him but also the other aristocrats from the local nobility. Finally, I could perceive that Min’s information about the protagonist is inaccurate and incomplete as he relies on the nobles’ perceptions and the rumors. The only thing he could witness with his own eyes is the special place Baek Na-Kyum had in the main lead’s heart and mind therefore he believed, he had finally found the main lead’s weakness in order to win this war. Now, it is time to continue studying this character. I’ll start, when the first part ended:

Chapter 52

There is another reason why Min doesn’t perceive Yoon Seungho as a madman. In my opinion, he senses a similarity to his own personality. He believes to recognize himself in the infamous seme. Since they share so many things, like for example disregarding social traditions, Min believes he knows how the protagonist thinks. According to Black Heart, Yoon Seungho is also a man prioritizing pleasure and fun over anything else. In other words, the villain only views his rival as “a man consumed by lust”. Sex and lust are definitely connected to joy and fun. Let’s not forget that’s the reason why the main lead became infamous. He never cared about rumors, general opinion and social norms. He did whatever he wanted… exactly like Min. In other words, Min is actually projecting his own thinking into the influential protagonist.

And this time, you can understand why I keep perceiving parallels between the scholar Jung In-Hun and Min. Both make the same mistake. In the chapter 6, Jung In-Hun thought that the rich lord would look down on commoners too. This was in reality the opposite. Black Heart and Black Mind (the scholar) thought that Yoon Seungho was like the rumors describing him: indulged in pleasure and no education. However this is just a misconception. Black Heart is making the monumental mistake not to question the intentions of Yoon Seungho’s daring behavior. He takes his abnormal attitude as face-value. He just thinks, the lord is doing it out of selfishness.

Min is quite amused by the comparison between the infamous hell-raiser and a madman hence he smiles. (Chapter 52) In my opinion, he must be mocking the other noble. He feels that his fellow is just too stupid and naive. Yet Min is actually overlooking an important aspect. There is an explanation why the other aristocrats are calling the protagonist a lunatic. Yoon Seungho is indeed revolutionary as he rejects social hierarchy and as such criticizes nobility with its privileges. During the 18th Century, libertines were fighting for liberty and equity and this is not surprising that the French revolution began 1789. Remember what I told about libertines, sex was just one aspect in their life, they advocate reforms and changes in the tripartite society, in the rigid social hierarchy. That’s what Black Heart is overlooking, whereas the nobles sensed this aspect but were not able to define it.

This is the reason why I describe the protagonist’s mentality as revolutionary. I doubt that this philosophy was common in Joseon, whereas it was more widespread in Europe due to the rise of the bourgeoisie thanks to the trade with the colonies. There is no ambiguity that our beloved seme is an oddity in Joseon, while Min is just a corrupted libertine like Valmont [see my analysis about Dangerous liaisons]. Black Heart is determined to use his position for his own selfishness and fun, he uses sex as war in order to defeat his enemy. As you can observe, Min is not revolutionary contrary to the main character, since he supports the social hierarchy.

Consequently I come to the conclusion that in this moment, we can witness another flaw in Min’s thinking. The latter assumes that Yoon Seungho is like him, yet this is incorrect. The main lead never paid attention to rumors circulating among the nobility either. That’s why the main lead didn’t intervene during the chapter 33. His retreat was not a defeat, he was just ignoring their opinion. Yoon Seungho just saw them as nobodies hence he had no reason to fight back for his reputation, since he never valued his notoriety. What Min perceived as a first victory was nothing in Yoon Seungho’s eyes. (Chapter 33) Here, he was challenging the lord for the first time. Furthermore like I had already underlined before, the lord created this image of hell-raiser as a shield. Thanks to his bad notoriety, he could deceive people and protect himself. Ecstasy was never his goal unlike Min, since Yoon Seungho desired to divert people’s attention. And based on my theory he never took pleasure in sodomy, he rather forced himself to live up to his bad reputation.

And in this chapter, we witness how successful the protagonist has been with his deception. (Chapter 52) No noble imagined that the main lead had an interest in government posts. Admittedly, only the readers know the reason why he is sponsoring Jung In-Hun. It happened because of the painter. However, I detect another manipulation here because of the following picture: [chapter 11] The noble has always been honest in front of the painter hence his words outline how powerful the main lead is in reality. He already has connections in the government but he never made it public therefore aristocrats thought, he was indulging himself in lust. While he went to sex orgies, he did pay attention to what was happening at the capital, yet he never showed up there due to his trauma. I would even add that he even influenced the government, but always unofficially and indirectly so that people would never make any connection to him. His power seems to be quite important since he proclaims that he can ruin the teacher’s career. This can be also the explication why he even adjoins that he will never get caught with Jung In-Hun’s murder. (Chapter 11) He can use his connections in the worst case to cover his misdeed. Nonetheless, I sense that he is also referring to his reputation as a man consumed by lust. As a conclusion, Min has no idea how powerful the noble he is challenging truly is. His judgement is based on the nobles’ reports and hearsay. That’s why Black Heart believes Yoon Seungho is easy to understand, since the rumor is quite simple. To summarize, Min is just another arrogant and stupid fool, overestimating his own abilities and underestimating his opponent. Like one of my readers wrote, Black Heart confuses cunningness with intelligence. Yoon Seungho is not only ruthless but also very smart.

And Min’s stupidity becomes really obvious, when he faces Baek Na-Kyum. He is in the master’s room next to the owner, yet he can’t refrain himself revealing his scheme: (chapter 52) But this doesn’t stop here. He even confesses Jihwa’s involvement. (Chapter 52) How can I not judge him stupid? I guess, opium has already confused his mind and reduced his vigilance. He is indeed careless and thoughtless. Besides, in the picture above, I noticed another important detail. He started insulting Jihwa as sodomite. This word “sodomite” reflects his opinion about sodomy as such. He is no homosexual per se, he just uses sodomy to submit the other masters. He is indeed similar to Yoon Seungho in that aspect. Both perceive sex as war, however the powerful noble did it out of resent towards nobility, whereas the other wanted to establish himself as the new ruler among the local aristocracy. Black Heart desired to prove his superiority over the other lords. the main lead had a different goal, it was to tarnish and ruin the image of the nobility. One might argue that the outcome is the same… which is correct, yet due to this, Min jumped to the false conclusion. Min assumed that Yoon Seungho had the same intention.

Striking is that when Min is facing the painter, he acts as if he was the owner of that place. He opens the door, questions the artist

Chapter 52

and takes the painting away from the low-born’s hands. In that scene, he has no right, as he is just a guest. Nevertheless, Min acts like usually: shameless and mannerless. In reality, Baek Na-Kyum is not obliged to answer him, for he is only working for Yoon Seungho.

After grabbing the painting, he starts insulting the host.

Chapter 52

From my point of view, we should mark this comment as the beginning of his challenge. He is mocking the lord, implying that he is still a man consumed by lust. He underlines that the lord didn’t practice restraint, quite the opposite. He even dared to have sex with a commoner. What an affront for all the nobles! He is such a scandalous man, showing again no regard to normal standards and common sense. Min is here attacking the powerful lord.

From my point of view, this scene should be read from three different perspectives in order to grasp the significance of this scene. While many readers were upset to witness how Yoon Seungho kissed the vicious noble in front of Baek Na-Kyum, it is relevant to remember the intentions of Min and the main lead.

Since Black Heart is attacking him and indirectly the low-born, Yoon Seungho can’t ignore his remark. This time, the insinuation and his bad reputation can affect the painter. Yoon Seungho is well aware of Baek Na-Kyum’s low self-esteem. Remember how embarrassed the painter was at the tailor shop. He feared public opinion and the master knows now that the painter views himself as a prostitute. So this kind of comment could definitely hurt the artist more, even reinforce the bad opinion Baek Na-Kyum has about the owner of the mansion.

What Yoon Seungho doesn’t know is that the low-born has already adopted a new philosophy. Here, the main lead chose to follow the painter’s request (Chapter 49), but due to the butler’s intervention, the protagonist decided to push the painter away. In his mind, it was the painter’s interest. The latter had just accepted the lord as his partner, as he felt obliged. But this was not entirely correct. Once the artist had admitted that he liked sex thanks to Yoon Seungho, this means that he had adopted this new philosophy. Furthermore the distance and separation helped the artist to realize that his lover had more meaning in his life than he had realized it before. Even in this chapter, the change is quite visible. (Chapter 52) The painter gets upset with the kiss but instead of letting his emotions take control of his thoughts, he ponders about the cause of these negative feelings. Why is he upset?

Now, it is time to pay closer attention to the lord’s behavior concerning the kiss. (Chapter 52) Notice the appearance of Yoon Seungho’s hand. It is directly put under the noble’s chin. This gesture is not anodine. His intention appears clear to me. He is aiming at his chin in order to mold his mouth. But he can’t make it too obvious, hence he disguises it after that with a kiss. The kiss is to shut Min’s mouth. Observe the lord’s hand is still grabbing the chin and his mouth is literally devouring Black Heart’s mouth. It was as if he was covering up Min’s mouth. He made sure that he would stop talking. Note Min’s expression. He never expected such a gesture, he thought that the lord wouldn’t retaliate like that, he would retreat. On the other hand, the main lead is not happy, he is actually furious.

There are different explanations for his angry look. He is mad at the noble for hurting the painter with his remarks and for endangering his fragile relationship with Baek Na-Kyum. He is also angry as he had no other possibility to stop Black Heart from mocking him and the artist. Another possibility is that he is well aware that his kiss could affect the low-born, nonetheless he sees no other solution. Another cause for his anger could be that he never expected the painter would show up that night. He had organized something else concerning Min and he never predicted Baek Na-Kyum’s visit, complicating his plan. Another possibility is that he got upset to see that the low-born was wearing his former clothes and his white headband again. This could give the impression to the noble that his plan “distancing himself from the low-born” didn’t help him to improve his relationship in the long run. It had the opposite effect. He got upset that his subterfuge “keeping his distance from the painter” didn’t work like expected. He hoped to protect the low-born as he knew what was going around him and now with the painter’s appearance, his plan gets ruined. As you can conclude, a single gaze can have so many different significations. All this proves to me that the lord is far more complex than Min thinks. Even the painter noticed it, he compares the lord to a mystery.

The first impressions the manhwaphiles had about this scene were negative. They saw the lord cheating on the painter as he was kissing another man in the commoner’s presence. I was even myself speechless for a moment. However, if you look more closely, you’ll notice that there is no real kiss. On the first picture above, the lord was covering Black Heart’s mouth with his mouth wide open. And in the other drawings, only their tongues are touching other and their mouths are wide open too. Their lips don’t truly touch each other, their eyes are not closed either. As a conclusion, what we are witnessing is here neither sex nor lust but a battle. Therefore they have to focus their gaze on the opponent. They are fighting with their tongues. Their organs are their weapons. Notice that no tongue is able to enter the mouth of the other. Entering the mouth would signify defeat. Min had started the fight with his mockeries and Seungho had to react as the painter was present and could be hurt by these vicious remarks. From my perspective, Yoon Seungho is still very protective of the painter. He will use every possible mean in order to defend him, even if this solution seems weird on the surface. Compare these kisses to the one he had with the painter: (chapter 46) What a difference! Min dared to challenge his host and this time, Yoon Seungho didn’t remain passive or retreat. He accepted the defy. This is what I take away from this scene.

That’s it for today. In the next essay, I’ll analyse the conversation in the lord’s chamber. This might have a different title.

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: 🖤 Black Heart (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: 

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 chapter 52, the manhwalovers witness the return of Min who dared to challenge Yoon Seungho on different occasions during the first season (chapter 33 and 41). In my two analyses about Min, I had described him as someone ambitious, jealous and manipulative thereby I started considering him as a villain for the second season. The lord with a green robe is led by his desire to overthrow the protagonist and to replace him as the new alpha among the local nobility. Thanks to this chapter, we definitely get to discover new sides of this villain called “Black Heart”.

But it is time to dedicate to chapter 52. In the beginning of this episode, we see Min smoking with a huge smile on his face. (Chapter 52)

He seems to enjoy it very much. However, to our shock, we discover that this aristocrat is smoking opium, a very addictive narcotic drug which was very popular among Chinese back then. Yet, you have to know that in reality opium trade was in the hands of British dealers. Already in 1729, the Qing emperor Yongzheng even forbade opium but this interdiction was useless as British merchants continued flooding the market of Qing dynasty with this drug, made possible by corrupted officials. Consequently during the 19th Century, according to historians, there existed around 12 millions Chinese addicted to opium so that the economy was affected. The high number of opium addicts forced the 8th emperor of Qing Dynasty Daogang to ask his Prime minister to confiscate opium from British sellers leading to the First Opium War between Great-Britain and Qing Dynasty (1839-1842). This info is quite relevant as it helps the readers to understand better the story. This explains why opium is imported from Qing and secondly why Min shouldn’t smoke it in the street. First, since Min shouldn’t smoke it in the street, I assume, opium was still forbidden so that we can conclude that this trade was certainly smuggled. Since Joseon was a vassal state of Qing, I assume that opium wasn’t legal in Joseon either. In other words, Min and his fellows are committing a crime.

Nonetheless, I deduce another info from this scene. Min is not the one who bought the opium but the other noble, for Black Heart asks him about the nature of the “tobacco”. Yet Min smokes it as if he owns it. From this single observation, I come to the interpretation, Black Heart is a profiteer and opportunist. He can enjoy opium without spending a high amount of money as his fellow was the one who bought it. He likes taking things from others, acts as if people around him were indebted to him hence he has the right to claim things from other aristocrats. As you can observe, Min is not just greedy and jealous of Yoon Seungho, he treats the other masters the same way.

The third observation is that Black Heart shows a disregard to others and especially to low-born. He doesn’t care if people see him smoking opium as he considers commoners as nobodies. This proves that Min believes, he is above the law as he is a noble. He shows no concern for his reputation, since he doesn’t fear any repercussion. No low-born will report him for smoking opium. On the other hand, he is not pleased to hear from the master with the khaki robe that he has to stop smoking the opium. He follows the fellow’s suggestion, however he can’t help himself criticizing him for his remark: “Do you have to be so difficult..?”. His comment is interesting because it indicates how Min views his companion, he is a killjoy. This reveals how much fun signifies to Black Heart. That’s why he likes manipulating people and even incited Jihwa to have the painter killed. This wasn’t just because he wanted to hurt Yoon Seungho and establish himself as the new king. He takes pleasure using people as his puppets. This was already palpable in the chapter 43, (chapter 43) but this signification is reinforced with this chapter. To summarize, Min treats everyone as pawns, including nobles. This outlines his arrogance. He considers himself as a puppet master, a great mastermind hence he is superior to everyone, including Yoon Seungho.

Chapter 52

Then, we see how the noble with the khaki robe leads our villain to the protagonist’s mansion. A single gesture, yet it is so full of signification. The aristocrat is behaving like a servant. He even addresses him as lord Min showing a respect but also a certain distance. Lord Min is treated as if he was superior to him. Yet, the noble doesn’t appear to be affected by his role as underling. He seems to be used to this situation. Therefore I come to the observation that lord Min seems to have imposed himself among nobles. He has become a high authority explaining why his actual position stands in conflict with Yoon Seungho’s.

What caught my attention in this drawing is the role played by Min’s fellows. They are his source of info. That’s how he learns about Yoon Seungho’s sponsorship and Jung In-Hun’s success at the first round of the civil service examination. As you can note, the arrogant noble is relying on his connections among the nobility in order to obtain new info about Yoon Seungho. This is also confirmed later, when he meets the painter at the mansion. He is so surprised to encounter him.

Chapter 52

He had heard through nobles that Yoon Seungho had returned to his old self, and had started inviting nobles again. Black Heart explained the lord’s sudden change with the painter’s death. Furthermore, during all this time, the artist was never seen by the guests hence they had come to the conclusion that he had disappeared. So in Min’s mind, his plan had succeeded. This detail is quite important as his sources of information are not reliable. Min can only see and hear what aristocrats witness in the main lead’s presence. Besides, their observations are biased, like the following picture proves it. (Chapter 52) One aristocrat calls the main lead “a madman”. So he is judging the seme based on his perception and knowledge and in my opinion rumors about him played a huge part. All the info collected by the nobles and reported to Min are somehow filtered. They only pay attention to other nobles and to what matters to them. This is important as I believe that they are neglecting the commoners. Since they are low-born, they are nothing in their eyes. This explicates why Min didn’t even bother to ensure that Nameless was indeed hired and he would do his job. He only heard about Nameless through other nobles and maybe even used him too, yet he accepted the rumor about Nameless as truth. (Chapter 43) Therefore I believe Min defends the values perpetuated among the aristocracy: titles give lords the right to consider themselves superior to commoners and to treat the latter as bugs. Min is the representative of this mentality, for him low-born have no value and no right. They can be killed or be mistreated, this is the normality for him. And this mentality is faulty as Min is neglecting an important factor: commoners. They represent the majority and play a greater role in the masters’ life. The result is that he made a huge mistake because of this source of info. He just relied on his fellows, however I have always said that Yoon Seungho used rumors and has always acted in front of other nobles. In other words, Min has a false image about the main lead and there is no doubt about it.

Pay attention to Min’s statement about the powerful protagonist:

Chapter 52

For him, he is easy to read. Black Heart is contradicting his counterpart since he is saying, the main lead is no lunatic. Striking is the expression “watch closely”. This detail is important because it explicates why Min approached Yoon Seungho in the first place. He needed to observe him in person to make his own judgement. He noticed the locked gaze between the main lead and the low-born, he realized the preciousness of Baek Na-Kyum in Yoon Seungho’s life. That’s why I see a confirmation of my previous analysis about Min. He was never an uke in the first place. He had to play this role in order to get close to the protagonist. Therefore he acted like a whore in that chapter 8. (chapter 8) Furthermore, after having sex one time, he remained by the painter’s side observing his expressions and reactions. He understood what the painter meant to the protagonist. (Chapter 9) However, his judgement is only partially correct as his perception is also influenced by the reports he received through his connections, like I wrote above. After the two challenges, Min could no longer approach the main lead hence he had to rely on other sources.

But why does Min think like that? He has the impression that the lord is not a deep thinker. Black Heart has no idea that the protagonist read all the books in his library. He thinks, Yoon Seungho is led by his emotions and can’t anticipate people’s moves. He might be merciless towards commoners but he is not really using his violence against other nobles. So far, he has never attacked any aristocrat. He might have humiliated them but that was it. Even after Jihwa got caught, Yoon Seungho only punished the spy but spared his childhood friend. In his mind, the lord is no strategist. He didn’t anticipate that Min would manipulate Jihwa to have the painter murdered. He threatened Jihwa and even Min, yet nothing really happened.

The arrogant mastermind imagined that if something precious to the main character is destroyed, then he would either return to his old self or be devastated. He would never retaliate. He can’t be really in love with a low-born or if he really is, then he will never reveal it. For Min, the famous lord might have been intrigued and attracted by the low-born, yet in reality he is just like them. He is too attached to his social status. Besides, he is just a depraved man so his moves are quite predictable. The lord will never go after another noble because he never did it in the past. Besides, each time Min challenged him, the lord retreated(chapter 33) or left it with a simple thread. (Chapter 41) Min never took it seriously. He only saw it as an empty menace. The problem is that Min’s perception is mostly influenced by the rumors existing about Yoon Seungho. I doubt, he is aware that the main lead has shadow guards. I even suspect that he never heard Yoon Seungho’s thread made in front of the painter.

Chapter 11

Chapter 11

Let’s not forget that in this chapter, Yoon Seungho was threatening to murder a noble which is quite daring. From my perspective, the aristocrat wasn’t making any empty thread. He was honest. As you can observe, Min’s words are revealing a lot about his false judgement about the main lead, which could be fatal for him. He believes that he is protected thanks to his title, Yoon Seungho will never dare to oppose him. He is not a real fighter. He became the ruler because of his infamous notoriety and there is nothing real behind it. He always avoided any confrontation.

Chapter 52

Striking is that just before he contradicts his fellow, he has a strange reaction. He is looking up at the sky but not at his companion. It was as if his mind was elsewhere. Here, I see another sign of his blindness and arrogance. He doesn’t pay attention to his companions, he doesn’t need to. They are far so inferior to him… how can they perceive Yoon Seungho as a madman? He is so easy to manipulate… you just need to strike the right nerve, and the man will just back off. He will never dare to fight back like in episode 33. The man literally fled, when he was pressured to bring the painter. He is just a man consumed by lust, nothing more. That’s his biggest mistake in the end. He might have perceived Yoon Seungho’s weakness, but he hasn’t truly investigated his personality, his background and his past. More importantly, he is not aware of Yoon Seungho’s true mentality: he hates nobility due to his past suffering. Hence for him titles have no value. Moreover he has no problem to be in contact with commoners. The painter is the best example.

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 6)

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.

This is going to be the last analysis about the chapter 49, where I’ll examine the painter’s confessions and their evolution. Like I had mentioned it before, we had confessions in the chapters 20, 40, 42 and 49. I am excluding the one in the chapter 25 because the person who should have received the declaration wasn’t present.

In the chapter 20, the artist declares his love for the teacher Jung In-Hun in front of Yoon Seungho, mistaking the latter for his teacher: If the manhwaphiles pay attention to the words used by Baek Na-Kyum, they notice in reality the vocabulary field is not love but worship. There is respect, admiration and longing (“pine for”). So it becomes really obvious that the commoner is not really loving the man. He is acting more like a member of a cult. Baek Na-Kyum venerates his teacher. It was, as if Jung In-Hun had become a deity in the painter’s eyes. However in fact he is not a god, just an idol, signifying he is only a fake god. The idolization is first truly visible, when the painter creates the painting: The scholar has become a high official in the drawing. He sits above all the people surrounding him, as if he was different and superior. His inauguration reminds me of a religious ceremony. Let’s not forget that this event is indeed linked to religion, as the new official has to thank the king and the gods in order to get good fortune. In other words, this picture is indeed linked to religion. The usual form of idolatry in the Bible is the worship of images or statues that are thought to embody the various pagan deities, like for example the golden calf. [For more explanations about the golden calf

This shows, how delusional and arrogant Jung In-Hun is. He created a cult, where he appears powerful due to his intelligence and knowledge and turned the painter into his first believer. We shouldn’t forget why idols are considered as fake gods. Their power exists only in the mind of the worshipers, in reality they are just ineffective pieces of stone or wood or in this case an impotent piece of painting. Take notice that I relate idolization to the mind and not to the heart embodying emotions. Therefore the incapable idols can never achieve greatness. This scene is really important, as the strong seme demonstrates his power over the low noble. He shows him his powerlessness, he confronts him with the reality. He is not a god. He has no real authority, hence he can’t change the world like he would like. In this scene, the scholar has to recognize that Yoon Seungho stands above him. Moreover, the former makes him realize that the protagonist was never a new member of his cult. He never fell for his deceptions, he perceived his true abilities (the plagiarism and his poor poetry). That’s why Jung In-Hun got upset. For the first time, he met someone who was superior to him in all aspects (financially, physically and mentally) and couldn’t be manipulated, as he had wished. As a conclusion, the creation of the new cult was born out of the scholar’s arrogance and blindness. He thought, he was like a god due to the painter’s admiration. By the way, this explains why the intellectual asked the powerful main lead to follow him to the capital, he imagined that if Yoon Seungho accompanied him to Hanyang, then he would receive people’s attention due to the presence of the “famous” noble next to him. He wanted to use the main character’s reputation and attraction. He desired to create a situation where he could get the impression that he was also admired. Despite the scene at the hunt, the low noble hasn’t given up on his “dream”. He still wants to be regarded as a new god, receiving respect and admiration.

Now, you might argue with me that the interpretation where Jung In-Hun is judged as a fake god, contradicts my earlier statement, where I associated the scholar to a dictator, like Hitler. Dictatorship and idolatry don’t seem to fit together, yet this is just a misconception. Hitler’s true wish was to replace Christian religions (Protestantism and Catholicism), which were deeply rooted in Germany, with National-socialism as ideology. According to the German dictator, National-socialism should become the new religion of The Third Reich. That’s why the Christian cross should be supplanted by the swastika, the new rallying sign for Aryans. His work “Mein Kampf” (My fight) should be perceived as a new version of the Bible, hence this book was given to newlyweds, after Hitler had entered the government as Reichskanzler (the name for the Prime Minister). In many publications (especially history books) under the control of the Nazis, Adolf Hitler was even presented as the new messiah. According to these books, his arrival was predestined, as all the great German historical figures had failed before. Luther, Frederick The Great or Bismarck or Hindenburg as his predecessors contributed to the construction of the future Germany preparing the Nazi’s coming. Hitler embodies the climax.

Ansichtskarte / Postkarte Friedrich der Große, Bismarck, |
The King conquered, the prince founded, the general Hindenburg defended and the soldier (Hitler) saved and unified “Germany”

Only he will be able to transform Germany and create an Empire that will last 1000 years. That’s why it is called the Third Reich, the dictator tried to connect this new Germany to the past. The first Empire was “Holy Roman Empire” (1254-1806), the second one “German Empire” (1871-1918) founded by Bismarck. As you can observe, they never lasted 1000 years so Hitler wanted to surpass them. He was definitely delusional, since he thought of himself as better and stronger than any other historical figures. To summarize, the German dictator tried to install a new cult and used propaganda and festivities in order to manipulate people, to get more and more worshipers. Remember what I wrote in the first part, there exists a ruler’s cult in a dictatorship. “My Führer” becomes a surrogate father figure, a guide for all the members, just like the scholar is an adoptive father, a guide for the painter. This proves the interpretation that Jung In-Hun is indeed similar to Hitler, who can be compared to an idol. Jung In-Hun hoped to experience the same, thinking that he will move the masses with his skills and aura but his “dream” got ruined during the hunt. Let’s not forget that Hitler was a politician and official in the first place, while he wished to be worshiped like a messiah too. We find the combination of religion and politics in Jung In-Hun’s life too. The latter wants to use his new position as high official to impose his cult, the new version of the Ten Commandments, which I called the 7 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.

Now, the manhwalovers might wonder why I keep talking about the German dictator, while my essay is about the painter’s confession. My reason is quite simple. We needed to determine the nature of Baek Na-Kyum’s confession and for that, it was important to define the object of his admiration. Since he is a worshiper, a member of a new cult, readers should judge Baek Na-Kyum’s declaration as a sign of fanaticism and not love. What is exactly fanaticism?

Fanaticism is an extreme and often unquestioning enthusiasm, devotion, or zeal for something, such as a religion, political stance, or cause. It can also refer to behavior motivated by such enthusiasm or devotion.”

Striking is the idiom “unquestioning” which is palpable in the painter’s previous behavior. Initially he never questioned his learned sir, nonetheless only under the protagonist’s influence, we could witness how the painter used more and more his own mind and started criticizing his admired sir. As a conclusion, the painter was more a fanatic than a man in love. It was the painter’s mind which was focused on the scholar and not the heart. From my perspective, the low noble had achieved to transform the painter’s love for him into an idolization or better said to fanaticism. That’s why in the artist’s first confession, the low-born voices yearning, aching and not just respect and admiration. The “I pine for you” reveals a certain pain. It can’t be simply explained by the coercive persuasion, since the latter had repressed it. The low-born had sensed that a distance had been created. Since Jung In-Hun was like a god, the painter could only watch him from far away, since he was just a commoner. There is another reason why I associate the first confession to fanaticism, it is the significance of the mind compared to the heart.

Many people perceive the Nazism as an ideology where people gave up on reasoning and let their emotions take over their life. This is also another misconception. In reality, Hitler used reason and the mind to the extreme. In his doctrine, he described Jews as parasites and as such undesirable elements that needed to be eliminated. The Holocaust is the logical application of this doctrine. Since Jews were no human beings, they could be killed like bugs. This was just cold reasoning and it did work. Many people contributed to the Shoah, they just wanted to make Hitler’s plan into a reality. Hitler didn’t develop himself the idea of gas chambers… his willing helpers did. Everything was done under the premise: we should materialize what he wrote in “Mein Kampf” (My fight). The impression that emotions were central in the Third Reichh comes from the events where people yelled their enthusiasm and made the Hitler greeting. The beholder feel that the masses are very emotional.

But this is only partially correct as only negative emotions like hatred, resent and jealousy were encouraged. Furthermore the spectators’ mind were the real target. They were influenced through the eyes and the ears. Hatred and cold reasoning (“the enemy must be destroyed”, “Aryans must fight till the end to protect their race”), used in the speeches, were the source of manipulation of the spectators. Empathy was non-existent, as it was literally killed with words. Goebbels and Hitler’s speeches are important as through the language and the visuals, they led to the loss of millions of people. Germans were willing to keep the war, because they should show no mercy and remain ruthless. Notice that at the end of the video, the moderator points out that German became the real victims of this ideology. And now you can perceive the similarities. The painter also became a victim due to the idolization resulting from the indoctrination. Another parallel is the importance of the scholar’s voice hence the low-born could only recall the low aristocrat’s voice and mouth. Baek Na-Kyum was indeed indoctrinated, influenced by the learned sir’s speeches, therefore he used the same words. He also looked down on others (sodomite here). This explains why he became a victim at the end, since he was confronted with internal and external fights. Yoon Seungho wanted to get erotic paintings and later to have him as his true partner. In order to keep following the 7 rules, the low-born always used his brainwashed mind, cold reasoning, like f. ex. “I am painting it for the teacher’s sake” or “Seungho is just a man consumed by lust” and struggled against his sexual desires, his own heart. The painter’s mind was full of rules and “despise” hence he couldn’t judge Yoon Seungho differently. By connecting the doctrine or the new religion to rules and disdain, the scholar wanted to kill the painter’s empathy and as such his heart. Consequently Baek Na-Kyum always repressed his sexual desires as they are connected to the heart.

The moment he tried to renew his confession, he was rejected as he had been questioning his teacher’s authority.He, as a low-born, was asking his “idol” to take his responsibility. The low noble should take care of him, especially after the latter had supported him. Yet the scholar refused for many reasons. First, a god is not supposed to take care of their believers personally. The latter can just pray but never request it from their “god” directly and make them responsible. Then Jung In-Hun was under pressure, for he wasn’t sure if he would be able to succeed. Besides, he was jealous and resentful as the painter was treated better than him, a noble. Moreover, the artist had disobeyed him as he had lied to him. But like I mentioned it above, he had detected that his influence over the painter had seriously decreased. He was distancing from him, he no longer worshiped him like in the past. His questioning and his lies pushed the noble to hurt the low-born in order to remind him of his social status. As a person raised at the brothel, he was filthy, in particular as he had violated the 7 rules. The artist had succumbed to sodomy, the greatest sin in the scholar’s eyes. He needed to punish him. He was a nobody, whereas he stood far above him. His words and gaze were vicious and cruel for that reason: he is a god and Baek Na-Kyum committed blasphemy. He needed to destroy the man.

The heart symbolizes love and not hatred. And this is no coincidence that the moment, Baek Na-Kyum starts confessing to Yoon Seungho, he speaks about his heart. However, the first real confession to Yoon Seungho is not complete. His sentences are broken, he voices fear because it feels so different from before, where he only used his eyes and brainwashed mind for the learned sir. Observe that in this picture he is covering his eyes, he fears the noble’s gaze. Let’s not forget that Jung In-Hun’s gaze was the weapon that killed the painter’s identity. In the scholar’s gaze, he saw his own reflection: he was filthy, he was just a whore. Hence he is afraid of Yoon Seungho’s gaze. How does he perceive me, that’s why he is thinking. During that night, he becomes blind and deaf due to the injury caused by the teacher’s reproaches and abandonment. This is no surprise that his ears and eyes were destroyed. Like I had pointed out before, these organs are essential for indoctrination and for idolization [Remember the comparison to the Nazi event]. So during that night, the sex didn’t succeed to comfort the painter, because the latter was not looking for sex but for comfort and love. We shouldn’t forget that he asked for embrace. He wished to be hold. The problem was that the painter was confused, he didn’t know what he wanted. Besides, the noble had no idea how to show love. It definitely came too late, when Yoon Seungho finally embraced and kissed him passionately. That’s why we could say that the scholar did win the fight against the powerful noble during that night. The main lead might have been able to get the painter, however he only found an empty shell. Baek Na-Kyum had lost his identity and confidence for real. However, the painter had recognized the beating of his heart, before his vital organ froze completely in the figurative sense.

Now, it is time to dedicate to the last confession. Unlike the declaration in the chapter 42, the painter is now able to speak more freely. The sentences are much longer.

What caught my attention were the words “eyes” and “heart”. First, the painter no longer fears the reaction of his heart this time. Secondly his vital organ is influenced by his eyes, contrasting to the past, when he idolized the low scholar. Back then, the voice, the teacher’s words in the form of the poem and his speeches were affecting his mind. Observe the opposition: ears/mind versus eyes/heart. That’s why there is a huge progression. Not only the low-born liberated himself from the false cult, but also he got closer to the noble. He is finally expressing that the noble is affecting him. He might say that this is just physically. Yet what really matters for me is that he is speaking about his heart, the symbol of love. He is acknowledging the importance of his heart. The other contrast to the first confession is that there is no aching in this confession. “I feel good” responds to “I pine for you”. So pleasure stands in opposition to longing. Moreover although in this confession, he admits his homosexuality and his acceptance of pleasure while having sex with the noble, I sense that the painter is one step closer to realize why he is moved by Yoon Seungho. He has already fallen in love with the man. The way to his heart are the eyes. So maybe the protagonist realized it too. Don’t you find it weird that during the chapter 51, Baek Na-Kyum was no longer able to see the noble? And in the chapter 52, when he finally decides to see the noble, he witnesses something terrible: Yoon Seungho kisses Min. Now, he is affected, unlike in the past. Notice on his way back to his study, he wondered why he feels bothered, I would even say, hurt. So the visual confrontation (his eyes) is making the painter realize his affection for Yoon Seungho. He is questioning himself and even before he listened to the valet Kim. We have here again the question: The question mark “why” is related to critical thinking.

As a conclusion, the painter is no longer under the scholar’s influence. There is no longer any adoration or idolization for his former teacher. On the other hand, he experiences pain due to the neglect. Seungho didn’t pay attention to his drawing and he even kissed someone else.

This will be my conclusion: The painter has changed so much during that night. He has returned back to life, he is using his own mind and is also paying attention to his own heart. Even before, he looked at the noble’s gaze, although the latter was upset. He was trying to perceive Yoon Seungho’s thoughts. That’s why we should perceive a positive development in the painter. He is no longer fearing the gaze of others. He is thinking on his own, hence he can no longer become a victim due to fanaticism again. I perceive that Baek Na-Kyum has reached a turning point in his life. He could definitely confront Yoon Seungho, like he did in the past. Remember when he yelled at him this:

He could refuse the lord’s proposition, a sex orgy, as he doesn’t see himself as a servant, although he dressed like one. I can’t help myself connecting to the scene in the kitchen (chapter 38), where he claimed that he was no servant. Let’s hope for this situation!

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: Punishment or not? – Wishful thinking (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:

What you are about to read is not an analysis, but rather a wish. Because of my wrong perception about the main lead, I came to a false conclusion. I had imagined that Yoon Seungho had punished Deok-Jae after the incident in chapter 47. This false deduction was influenced by my first impressions. But instead of removing the essay, I chose to keep it and not changed the whole argumentation. There’s a reason for that. I am planning to write a second part: “Punishment or not?” – Reality. And now, it is time to rediscover why I came that Deok-Jae was flogged.

What caught my attention is the following picture.

Here, the servant is complaining about his poor sight. Imagine, he even bumped into a wall due to his loss of sight. He is almost blind. My confusion came with the following statement. Deok Jae remarks, if the master hadn’t beat him, then he wouldn’t be in such a poor state. With this statement, the domestic gives the impression that the noble had personally punched him. With this expression, the manhwalovers are reminded of the incident occurring during the first season. Deok Jae was beat after Baek Na-Kyum’s escape in the chapter 30. Many recognized him as the domestic opening the door, when Jung In-Hun returned with the painter by his side. He definitely suffered a lot. Due to this comment “If that bastard Yoon Seungho hadn’t beat me”, I had some doubt. However now I believe that in reality, the servant Deok Jae was punished a second time.

Therefore I’ll elaborate my points for this interpretation, while giving the contra for this theory. First, we see the servant has both hands bandaged. Unfortunately, I forgot that the bandages are there because of the cold, like my reader @Sh pointed out. Even Kim had such bandages. So the bandages can’t served as evidence for this theory.

Secondly, since he is not able to distinguish a wall now, this means that his sight deteriorated so much. Then how do you explain that in the chapter 47, he could recognize the erotic painting which is much smaller than a wall? He could identify the persons painted in the drawing. So his sight was good enough back then. I distrust that within a week, the servant’s eyes could become so bad without any cause. The first beating occurred months ago, at the end of the summer. Now, we have winter. If so, his sight would have deteriorated more progressively.

Furthermore how do you explain the prank with the stones in the rice? These objects are so small and he had to gather them. If his loss of sight had come from the blow caused by the painter’s escape, then he wouldn’t have been able to pull the prank. He could have claimed that he wasn’t responsible as he is almost blind. Yet he chose to justify his action and admit that he just played a prank He could have used the excuse with his poor sight to escape suspicion, yet he didn’t. But we shouldn’t forget that he wasn’t the only one with a bruised eye. Even the valet Kim didn’t get spared, his battered eye was on the left side. However, the latter is not suffering from a loss of sight.

Besides, if the domestic had suffered so much from the hits made by the lord, then the viciousness in his gestures in the chapter 46 are diminished. Let’s not forget that he destroyed the painter’s snowmen. Then he pushed him hard with his shoulder. His intentions were to insult and hurt the painter. If he had such a poor sight, then he could have used this as an excuse in order to hide his true objectives. He never did it.

I see another point confirming this interpretation in the following picture: Thrashed is a synonym for flogged. In other words, the domestic wished that the painter had been flogged hence he is definitely referring to the straw mat beating. Back then, the painter escaped the punishment because the lord intervened personally. That’s why Deok Jae says that Baek Na-Kyum should have received the punishment. Imagine, the artist never really suffered from the straw mat beating, yet it took a few days for him to recover. In the chapter 12, Baek Na-Kyum leaves his room for the first time before meeting Yoon Seungho indicating that he was indeed wounded, although he didn’t get really flogged. Jihwa even expected Baek Na-Kyum to be more injured after hearing the news that he had received the straw mat beating. This outlines the severity of that kind of punishment. This sentence can definitely cause disability or even death. Loss of sight is a disability.

In the chapter 51, we see a resentful Deok Jae. He hates not only his master, but also the painter. He wishes the painter’s death therefore he tries to convince Nameless to murder the low-born during the night. Deok Jae hates him so much for two reasons. While the artist was spared by Yoon Seungho, Deok Jae never received the same care. The lord never went personally there to stop the punishment. The opposite happened, my assumption is that the master was present, when he ordered the flogging. This would explain why Deok Jae expressed it that way: “If that bastard Yoon Seungho hadn’t beat me”. Since he was present during the punishment, it was as if he had beat him personally. This would stand in opposition to the painter’s fate. The latter was saved by Yoon Seungho personally.

As you all know, Byeonduck likes working with parallels and contrasts. She often creates similar situations, where she changes a few elements in order to outline the development or the differences. Remember how I associated the chapter 11 with the chapter 47 f. ex. So we have two commoners, one even stands lower than the other because he comes from a brothel which is now known among the staff, whereas the other has worked for quite some time at the mansion. Despite his higher position, Deok Jae only experienced punishments, while Baek Na-Kyum is always spared. Now, he has more reasons to resent the painter. The latter had a better fate, although he belongs to a lower social class.

Observe that the first straw mat beating was never shown directly, only through a flashback and through hearsay. This is definitely possible that Byeonduck plans to work like that again. Since the chapter 47 resembled a lot to the chapter 11, the chapter 51/52 could be perceived as the repetition of the chapter 12.

Moreover, if Deok Jae didn’t get punished with the straw mat beating, then this would diminish the lord’s intelligence and sharp eyes. He was present, when the domestic insulted the painter. The following picture represented the noble’s perspective hence he was paying attention to the painter the whole time. He must have heard the insult. Furthermore, Deok Jae admitted in front of valet Kim that he was the author of the “spoiled rice”. Fact is that the domestic made a terrible mistake, it was as if he was poisoning the food. Like the butler expressed it, with his action he disregarded the master’s authority. Yoon Seungho had to do something. Either valet Kim told him personally or the noble understood the valet’s message, when the butler sent Deok Jae alone to clean up the mess. Don’t forget that if people think that Deok Jae wasn’t disciplined for his evil actions, this makes Yoon Seungho appear as a lord lacking harshness and stringency.

I have the feeling that Byeonduck created this confusion on purpose as her style is not to give too much info to her readers. They should be treated just like the characters, not knowing everything and even contributing to generate gossips or believe rumors. Besides, I have the impression that she acted as a judge. She condemned Deok Jae to blindness due to his evil actions. Remember what I mentioned about Deok Jae’s actions in the chapter 46. In that scene, he acted, as if he was “blind” by destroying the snowmen or pushing the painter’s shoulder. Now, he is definitely suffering from blindness. Imagine the irony of his situation. There’s no doubt that his handicap will play a huge role in his demise in the end.

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 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: Hearsay (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: 

In this essay, I’ll focus on the new character Nameless who appeared for the first time in the chapter 43. What caught my attention in the latest episode was the way how Byeonduck presented him, it was through hearsay. That’s the reason why I selected this title in the first place. (Chapter 51) (Chapter 51) And now, if we look back at his first appearance, he was indeed recommended by hearsay. Min was the first one mentioning him to Jihwa. So in the following panel, the speech bubble represents Min’s voice. He is the one describing Nameless to Jihwa.

Chapter 43

Nameless or No-Name is portrayed as someone greedy and ruthless. Because of the interruption of the intercourse, Jihwa has even the impression, Nameless is selling himself for money. It looks like he has no conscience, only money matters to him. That’s how the gossip portrays him. However, in the chapter 51, we also discover that he has another reputation. He is supposed to be a good lover or better said, sex partner. (Chapter 51) It looks like he has made a name for himself among people through hearsay, although he doesn’t have a name. How ironic! Since he doesn’t possess a name, it was as if he didn’t exist. A name defines a person as such, it gives an origin (family name, parents etc.) which is really important in Asia. Since this story takes place in Joseon, the importance of family and name is even more relevant. Without a name, the man has no root so that we could say, Nameless is like an orphan. In other words, he shares the same fate than Baek Na-Kyum, an orphan with unknown origins. I could even add he lives like a shadow through hearsay. I believe, there is no coincidence that Nameless was introduced through gossip twice. It is a part of his figure, he lives through grapevine for a purpose in my opinion.

Because of this detail, I couldn’t help myself connecting him to our main lead Yoon Seungho. The latter also uses rumors as a tool in order to deceive people. Remember my theory that Yoon Seungho acted as the biggest sodomite ever in order to hurt his father and manipulate people around him. At the same time, the aristocrat utilizes hearsay as a shield in order to protect himself. The least people know the true Yoon Seungho, the better it is as his weaknesses can’t be exposed. That’s why I called him the master of deception. Therefore I think that Nameless uses the same strategy, he hides behind hearsay. Note that we have two rumors in the chapter 51, the one about Yoon Seungho returning to his bad habits and the other about Nameless. Therefore I come to the conclusion that both gossips mirror each other and are no coincidence. This reinforces my impression that Nameless created this image about himself through gossips for a reason too. And here is the question: Why would he do that? What is his purpose to have such a “reputation” as greedy and ruthless? I doubt that avidity and cruelty are his true motivations. Just like in the noble’s case, we should question this hearsay. Hence I will examine Nameless, not through gossips but through the pictures Byeonduck gave us and make some speculations.

Chapter 43

When he appeared for the first time, he was dancing with another artist following the music played the musicians. This picture reveals that Nameless is working with others. His work as entertainer is just a cover, since he does dirty work behind the scene. We can definitely say that Nameless is the chief of the band because of the following picture: (chapter 51) The minions must be the musicians and the dancer. As you can observe, the man is not just some criminal driven by greed and brutality, he has abilities for he was able to impose himself as the leader of this band. I detect that he is methodical and quite decisive. Remember that he gave instructions to Jihwa in the chapter 50. (chapter 50) Strictly speaking, he is a strategist which is visible when he tells Jihwa that he has other channels.

Chapter 51

As you can observe, he resembles a lot to Yoon Seungho. Some readers started even imagining that they might be related because they look similar. However, this is for me too soon to adhere to this theory. What I can definitely announce for sure is that both characters have a similar thinking and personality. Hence this doesn’t surprise us that both are described as ruthless as well. When the manhwalovers read that Nameless was working on other channels, they immediately connected it to Deok Jae. The resentful servant is spying on his account as he wants to get revenge on his master. (chapter 51) They were not wrong with this association, however I feel that in that cabin, there was another channel that Nameless was working on. (Chapter 51) Why would he have sex with her? Why would she approach him? I have the impression that the hearsay (him being good at sex) was relayed to her intentionally. Remember that in Painter Of The Night, nothing is there by accident. Jihwa might have caught them randomly, yet there is no ambiguity that this intercourse has its importance. Therefore I tried to determine the identity of this woman. (Chapter 51) If you regard her clothes, you’ll note that her appearance resembles the one belonging to maids. (Chapter 47) The colors of the jacket and skirt are quite similar. However, there is a huge difference between the two maids. Although the servant in the picture above is the head-maid at the kitchen, she doesn’t own any expensive hair pin or ring, while it is different with the woman sleeping with Nameless. She possesses two jade rings and a golden hair pin. This is not something a maid would own. We have 2 possibilities. Either the woman disguised herself as maid by wearing such clothes and hid her real identity or she is a maid close to a lord and the latter gave her jewels for her sexual services. The third possibility is that she works as a gisaeng which would explain the contrast between the jewels and the clothes. She belongs to the lowest social class, yet she has to distinguish herself through her hair dress and jewels. This idea was proposed by one of my readers Anyway, in my opinion, Nameless approached her for a reason. He is digging for information. We have two possibilities: either he is spying on nobles (the clients of the gisaeng house) or he wants to know more about the painter. Let’s not forget that the latter was raised in a brothel. While Jihwa believes that Nameless is doing it for money, I think that he is using his body for information. Why do I come to this conclusion? It is quite simple. Since I sensed so many parallels between Yoon Seungho and Nameless, I am using the protagonist as role model. Because the noble used his body in order to defeat nobles and to hide his own self from others, I believe that the commoner is acting the same way. Both have a negative reputation through gossips and hearsay.

Because I explained that the lord hid his traumatic past behind his bad reputation, I have the impression that Nameless is also hiding his tragic past behind the hearsay. We have definitely proof that the “criminal” has a terrible past: his body.

Thanks to one of my followers, I was able to discover the signification of the tattoo on his chest. Notice, he has the same tattoo twice: Thief. So he was condemned because of theft and this twice. This is something he can never erase hence I come to the conclusion that this is the reason why he covered his whole body with tattoos.

(Chapter 51)

Chapter 51

By having so many tattoos on his body, he made sure that the tattoos “thief” wouldn’t catch the attention and be perceived as a weakness, there are tattoos among others. Sure, my problem is that I can’t discern the meaning of the others. On the other hand, I am quite certain that he uses tattoos as a cover to hide his weakness, his wound.

Another observation is that Nameless is quite observant, just like the rich noble. He realized how weak Jihwa was due to his gestures (the shaking hand, the noble biting his finger nails) (chapter 50) that’s why he ordered him to stay home in the chapter 50 and here asks if he has been drinking. He can perceive people’s personality very well. I would even add that Nameless’ heart must have been touched, when he noticed Jihwa’s bad habit: biting his finger nails. He must have sensed that this noble had still an innocent soul. Striking is that although the red-haired noble is just a wreck and even insults the “criminal”,

Chapter 51

the latter never gets upset. He always remains calm and still treats his “client” with respect. He continues calling “sir” or “my lord” all the time. Notice the contrast of Nameless’ attitude towards Jihwa and Deok Jae. He never threatened the aristocrat, while he had a killer gaze in front of the domestic. (Chapter 51) Even the evil domestic got scared, when he experienced this gaze.

Chapter 51

This attitude unveiled Nameless’ disdain but also mercilessness towards the domestic. He pays no attention to the servant, whereas he is treating Jihwa so differently. He shows a certain care, which is unveiled when Byeonduck lets us enter his mind. This image represents the commoner’s perspective. (Chapter 51) That’s the reason why this zoom on his chin covered with tears was preceded with the drawing of Nameless’ face. The latter looked at Jihwa’s mouth and tears, while the commoner allowed the noble to voice his worries and anxiety. His eyes don’t express any disdain or arrogance in the last painting. Here, we could say that Nameless is not cold-hearted, quite the opposite, he is sensitive. Sure, he doesn’t allow the red-haired aristocrat to mistreat him, yet he shows a certain curiosity and concern towards his client. In fact, this reflects the purity of his heart. He senses the noble’s sinlessness which stands so much in opposition to the criminal’s reputation. In this scene, the manhwaphiles can detect another similarity with Yoon Seungho again. The gaze and action reveal more than any word. And here is the next question: why would No-Name be quite nice to Jihwa?

Since I observed so many parallels between Yoon Seungho and Nameless, I couldn’t restrain myself imagining that both could be working together in reality. But I have to admit that as good as this theory sounded, it is now quite certain that they have no ties. On the other hand, I still believe that at some point, they will be working because both could be reunited by a common desire: their resent for the nobility. We know for sure that the powerful protagonist despises social hierarchy and judges people based on their skills and work. He had no problem to take a painter coming from a brothel as his “wife”, so why not having a “commoner” working for him? While composing the essay “White versus Black”, I realized that yin and yang symbolizes perfectly the main characters’ personality. While Yoon Seungho has still a pure mind (White), his heart has been corrupted due to his tragic past (black) that’s why he keeps hurting the painter over and over again. On the other hand, Nameless has a pure heart, yet he has a corrupted mind due to a traumatic experience. His “vicious” mind could be the reason why he is able to perceive a conspiracy and even plot a crime. He doesn’t lose his temper, when he is threatened.

chapter 54

From my point of view, he even envisaged this possibility. Striking is that his head is indeed covered by a black veil which corresponds to my association with the black mind.

Chapter 54

Surprising is that the manhwalovers discover the black cloth at the end of the chapter. Does this belong to Deok-Jae? If so, then this represents his vicious heart and mind. He resented the painter and bullied him in many different ways illustrating the darkness in his personality. This would also explain why the criminal has no remorse to kill the vicious servant. He really hates that kind of people. Let’s not forget that based on my theory, Nameless is sensitive to innocence and kindness due to his pure heart. Simultaneously, this could also belong to the ruthless criminal, a sign of his brutality. He won’t spare anyone standing in his way. So the rumored ruthlessness becomes a reality in the chapter 54. He has no problem to get rid of an annoying witness. He will dirty his hands, if he needs to, he feels no remorse to kill someone.

Chapter 54

What caught my attention in this picture is that Nameless is looking at Deok-Jae through his mask. It was, as if he was now transforming into the butcher he is supposed to be. The eye is looking at the domestic, the latter has already become his target. From my point of view, there are two reasons why Nameless decides to eliminate the servant. First, he has this desire to protect the red-haired noble whom he views as innocent. We shouldn’t forget that the criminal was the one who reminded his client of the gravity of the wrongdoing. Since Nameless has sensed that the aristocrat is plagued with huge pangs of conscience, he has become aware that Jihwa has been incited by someone else. Because the commoner has a corrupted mind, he can perceive the darkness in other people, like Deok-Jae, but also he can think like a vicious person. That’s why he has been working on other channels. I have the feeling that he is trying to uncover the conspiracy which led Jihwa to hire him. That would explain why he told Jihwa, he had to wait for a while. Nameless decided to look into the matter, when he noticed the red-haired aristocrat’s anxiety. He wanted to uncover why Jihwa would want to get rid of a low-born. Since he has a pure heart, it is definitely possible that he abhors the idea of murdering innocent people. Yet, his black mind is the reason why he is able to plot against others.

Since Nameless was convicted as thief, it is definitely possible that he had such a tragic fate due to the purge, since Yoon Seungho became a victim of betrayal due to the purge. In other words, if my theory is correct that the commoner suffered a traumatic past like Yoon Seungho, I doubt that he would let nobles manipulate him, especially if he was framed himself in the past. Therefore the suffered injustice could be the butcher’s real motivation. This explains why he is working on other channels. He needs to find out the identity of the mastermind behind this conspiracy. He wants to keep Jihwa away from this event. Besides, Nameless would be the perfect enemy for Min as he embodies White heart. So far, Yoon Seungho can’t defeat Min with his broken and corrupted heart. With his viciousness, the criminal can uncover the secret, while Yoon Seungho’s mind is too pure to even imagine such a plan. Moreover, his mind and heart are too preoccupied with the artist hence he has become blind and deaf to what is happening around him. Right now, the lord is in a weakened state, the perfect opportunity for Min to strike.

As you can observe, the theory of the protagonist working together with the ruthless commoner has been abandoned, yet I am quite sure that they will join forces at some point. Furthermore, since Byeonduck is using elements from the first season but has changed the chronology, I came to realize that Nameless’ actions (Chapter 54) reminded me of Jung In-Hun’s behavior in the first season. He used commoners in order to dig up some secret so that he could blackmail Yoon Seungho. (Chapter 29) Therefore I have the impression that the commoner is behaving like him, yet this time it is in order to unveil the identity of the mastermind. That way, he could protect Jihwa and at the same time, he would be able to get rid of a heinous person. On the other hand, since Min has become aware that his plot failed because the assassination didn’t take place, Black Heart can only condemn the red-haired aristocrat and Nameless. It is definitely possible that Min chooses to hurt Jihwa as retaliation which can only push the criminal to become very hostile to Min. From my point of view, Nameless will become a great helping hand for Yoon Seungho in the future. With his Black mind, he can even predict what villains will do. The protagonist’s mind is too pure to recognize the viciousness in the scholar. He might have perceived his hypocrisy and stupidity, nonetheless he still doesn’t know what Jung In-Hun afflicted to the painter. From my point of view, this explains why Yoon Seungho couldn’t defeat the scholar so quickly. He was too naive in this aspect. However, the main character needs to have someone with a black mind so that they can anticipate the scholar and father Yoon’s moves.

The final reason for my theory that Nameless will become the protagonist’s ally is the way Nameless is used. Byeonduck seems to have created a second OTP because Nameless keeps touching the noble’s wrist and is quite caring.

Chapter 54

Consequently I can’t imagine, the noble being involved with Nameless and the latter becomes Baek Na-Kyum’s real assassin. Their “love story” would be too tragic because there is no ambiguity that the influential noble would go after these two, if the painter or someone else close to him would get hurt. Besides, based on my theory (White versus Black), Nameless with his corrupted mind is the only one capable to defeat Min with his black heart. The darkness of the mind can fight against Black Heart. Furthermore, Nameless can help Yoon Seungho to defeat Jung In-Hun and Father Yoon later. Observe that so far, the main lead never attempted to get revenge on his father. He just hurt his father with his behavior and the rumors, yet father Yoon was never really attacked or defeated.

As a conclusion, Nameless will play a huge role in the future, not just as a killer but as a double-agent. I consider him as the alpha and the master of deception among the commoners. His mask as entertainer symbolizes his disguise. By meeting Jihwa, he realizes that there are still some pure people in the world which will lead him to change his life. Nameless resembles a lot to our protagonist Yoon Seungho, hence I felt their collaboration would be quite interesting, if my theory was correct. Nonetheless, after the end of season 3, it looks like Byeonduck doesn‘t plan to use No-Name and Jihwa a lot. So if the Joker appears in season 4, it will be brief.

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 the support.

Painter Of The Night: Hearsay (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.

Once again I was surprised by the new chapter as I hadn’t expected a time jump. I had imagined, Byeonduck would continue the story with the same day, like for example, we would see Deok Jae’s punishment. The time jump serves two purposes. First, we have an acceleration of the events, the attempted assassination is about to occur. Secondly, the readers are a little confused about the huge change of Yoon Seungho’s behavior relayed by the head-maid and Deok Jae. The mixture of time jump and of gossip gives an air of mystery, the manhwalovers have to fill the blanks. What is the protagonist doing exactly? Why is he acting like that all of the sudden? It was interesting to observe how many readers were upset and perplexed about this development. Even myself had to ponder about Seungho’s behavior for a moment before giving different explanations.

My twit as evidence: 1. Possibility SH is aware of the plotting but wants to catch everyone in the act. Since SH said nothing to Kim and BNK, something terrible happens. 2. Possibility: SH is too focused on getting revenge on JIH through his connections that he overlooks DJ. 3. SH is taking his distance because he is pained. BNK did not choose him in the end. 4. SH is acting like that in order to force the painter to initiate the next interaction. In the last confession, SH was used as a tool.

Yet, the real revelation, the true cause for this sudden switch, occurred to me much later.

Now, it is time to take a closer look. For that, we need to examine the beginning of the chapter 51. What caught my attention is the following expression: “sent him away”. Here, he imagined that putting some distance between the painter and the teacher would help him. His relationship with Baek Na-Kyum would improve, as you know the saying “out of sight, out of mind”. Nonetheless it didn’t happen like he had anticipated. Because Jung In-Hun had hurt the painter so deeply, the latter couldn’t forget his learned sir due to the agony. In other words, although the lord was physically closer to the low-born, the latter couldn’t perceive him at all, for his mind and heart were elsewhere. They were too focused on his own heartache and negative image. As you can observe, distance and closeness were in the center of the noble’s thoughts. He realized that the saying “out of sight, out of mind” is not true.

Then we have the master remembering the night before, when he saw the painter’s sleeping face. I believe that in that moment he felt intimacy and trust and recognized that despite Baek Na-Kyum’s rejection, the painter’s actual behavior proved it otherwise. The latter felt comfortable and trusting enough to relax and fall asleep confirming what he had sensed before, when Baek Na-Kyum kissed and hugged him. The last panel is interesting because of the ambiguity of Yoon Seungho’s words: “How strange…”. The sentence is incomplete hence we have no idea what he is exactly thinking. First, we think that his memory could be the reason for this statement. This remembrance made him realize that he no longer had any reason to be jealous of the teacher. He knows, with the way Baek Na-Kyum behaved that his “love” for his learned sir has been destroyed for good. However, I have the feeling that this is only partially correct. I believe that in the last drawing, he made another huge revelation that’s why he decided to change his tactic in order to get the painter’s attention and affection. Striking is that the lord is starring at the books. From my point of view, one of the books must have stood out, which triggered the lord’s memory (not the flashback we saw, but another one) and led him to another epiphany.

Now, you are wondering about the identity of the book. The noble’s gaze must have caught the publication written by the famous poet Wang Bang-Yeon. We shouldn’t forget, in the chapter 19 Jung In-Hun discovered the truth about the real purpose of Yoon Seungho’s sponsoring. It was to force Baek Na-Kyum to paint. Since the lord had mentioned the poem composed by the scholar during their first meeting, Jung In-Hun realized the powerful but infamous noble could have detected his plagiarism. Therefore he had to investigate the matter and look for the book at the library. And he did discover the publication which was revealed at the end of the chapter 21.

Pay attention to the first drawing. Inside the book, there is a piece of paper reminding us of the poem. I am quite sure that the scholar had a copy of his own plagiarism. This proves that Wang Bang-Yeon’s poem was in the scholar room. I doubt that the learned sir brought it back to the library. He is not someone hiding his actions very well. Let’s not forget that his infringement is really obvious. Besides he must consider it beneath him to return the books. This is the work of servants. Thereby I am inclined to believe that he didn’t feel the need to hide his discovery either. He got aware that Yoon Seungho could have known all along that he copied the poem. But he wasn’t sure therefore he confronted the noble during the hunt.

The poem is really important because its topic is about distance and love. For people who didn’t read my analysis about the poem, I am posting the link to my essay.

This is the original poem:

“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.”

Here, the author was suffering since he was separated from the person he loved and admired. Their partition caused the official’s restlessness, yet he couldn’t reveal his pain to others. Consequently he could only express it during the night. Simultaneously, the author voiced his difficulty to cry, he is not able to have tears in his eyes.

“How strange…” that Yoon Seungho encounters the poem in this situation. And now, you can imagine what the lord thought. “How strange…” that this poem does reflect the truth so well. Distance can’t stop someone from loving or thinking of someone else. That’s what the noble recognized. He read it but never got to make this kind of experience. Consequently Yoon Seungho will turn this poem into a reality. He knows very well that the painter’s heart was already moved by the copy. So he needs to distance himself from the painter, creating a separation. Only then, the painter’s mind and heart will sense the emptiness left by the noble’s absence. On the other hand, Yoon Seungho will suffer for a while, he will be the one who can’t sleep and cry, hiding his pain in front of his servants, his acquaintances and the painter himself. We shouldn’t forget that we never saw the lord crying, it is something he has never been able to do, but he needs to in my opinion in order to overcome his traumatic past. Yoon Seungho will recreate the same situation, he will become the lover forced to be separated but who longs to return to his love. The noble is really a romantic one in the end. He is willing to be in agony, until Baek Na-Kyum gets aware of his own feelings but also of the protagonist’s affection.

How strange that he came to this idea. Let’s not forget that the noble returned the poem and Baek Na-Kyum still has it in his possession. Yet I have already exposed the theory (@xSeunghoe was the one developing it) that in reality the noble never returned Jung In-Hun’s poem but a poem written by Yoon Seungho. The latter copied the original poetry written by Wang Bang-Yeon. This assumption was made because of the difference of the quality of the paper. The master wanted the artist to discover the fraud and at the same time, he wished to correct the painter’s opinion about him. He was determined to prove to the low-born that he wasn’t a “man consumed by lust” but also a learned sir. This negative image had truly bothered him in the chapter 5 to the point that he couldn’t have sex with Jihwa. However, the low-born didn’t realize the switch, too happy that his learned sir had come to the mansion (chapter 7). The poem had lost his purpose, since Jung In-Hun was close to him. He had his learned sir by his side, there was no separation any longer so that the artist didn’t feel the need to read it. This explicates why Baek Na-Kyum never changed the negative perception he had about Yoon Seungho, as he never looked at the poem again. On the other hand, that’s how the noble discovered that the painter couldn’t read. The sex sessions with different sex partners contributed to this negative reputation, the stigma “man consumed by lust” got reinforced. The painter saw it with his own eyes and even seemed to experience it.

Due to the artist’s words in the chapter 48, the lord recognized that he was still associated to sex and depravity, although he had cut ties with other nobles and never organized or visited any sex orgy. As he couldn’t help himself from making love to the painter, the latter had the impression that Yoon Seungho was just obsessed with sex and his paintings. Consequently the aristocrat got mad. Yet this made him realize the significance of his own image. He needed to change his behavior in order to attract the painter’s attention, to get him aware that he was with him for other reasons than lust.

The distance and the sudden change of attitude are deliberate. And it is indeed working.

The painter is indeed looking into the direction, where the noble is sitting, while he is following the head-maid. His head is turning to the building. Compare it to the image from the chapter 44. Both are very similar because of the weather and the situation. Nonetheless the changes are quite telling. In the second drawing, the commoner is walking on his own underlining his loneliness. He has not been accepted by the servants at the mansion, while in the chapter 51 it is clear that now the staff recognizes him as a member of the mansion. Pay attention that in the chapter 51 Baek Na-Kyum is following the head-maid from the kitchen and later the valet Kim. He is no longer isolated and rejected. Secondly, in the picture above Baek Na-Kyum is just walking to the mansion but he is not paying attention to the lord smoking by the window. Only on his way to his room, he spots Yoon Seungho sitting at the window, therefore he stops walking for a brief moment. This happens very quickly, then he starts walking again in the direction to his study. This action is interesting because it reveals that the painter only remains there as he has no other home. Yoon Seungho as such was never the reason why he decided to remain by his side, just the notion “home” was good enough for the artist. We shouldn’t forget that the mansion is big contrasting so much to the tiny appearance of the master. The difference of size underlines the significance of the artist’s motivation: he is walking towards the mansion. His gaze just gets distracted by the lord’s appearance at the window but that’s it. This interpretation is confirmed later with the chapter 46.

Now, look again at the picture in the chapter 51. The commoner is following the head-maid, yet his body and head are turned to the lord. In this episode, he doesn’t make a pause to look at him, he keeps starring at the opened window, where he can observe his “lover” laugh. The other huge divergence is the wealthy protagonist’s attitude. He is no longer passive, sitting alone while smoking. He is drinking with another aristocrat, making jokes and laughing.

This is quite important because it reveals that Yoon Seungho has finally understood that he needs to woo “his wife” differently. Appearance and sex appeal are not enough, in fact they are contra-productive in his case. The lord had imagined that he had won his lover with his sex expertise (chapter 42) thus he did nothing to impress his lover. That’s why he was so passive (a reproach I had already expressed before the second season started). The poem gave him the solution to his problems, it illustrates how to win a person’s heart. Absence makes the heart grow fonder.

Funny is that many readers were upset because the head-maid complained about her lord’s behavior. She had the impression that he had returned to his old-self, hence many readers felt the same way. They were influenced by the hearsay. What they failed to recognize is the lord’s laugh.

This action unveils a different side of the lord. Laugh is associated to joy and happiness. It stands so much in opposition to his smoking. It was as if the master had finally started living for real. Sure, his laugh is a little too pronounced, it is intentional. The master is laughing so loudly to attract the artist’s attention. However, I see this evolution in a very positive way. He has come back to life for real. Our protagonist has finally understood that he needs to take matters into his own hands. I have always said that he needed to change his behavior and here the manhwalovers are finally witnessing it. Yet, we all expected a different attitude, nonetheless I feel that the master made the right decision. He is distancing himself from Baek Na-Kyum in order to prove him that their relationship is not just physical. The lord has stopped approaching him for sex and even erotic paintings. Baek Na-Kyum can no longer view himself as prostitute because he is no longer required for sex.

This strategy serves two purposes. First, he wants the painter to question his own attitude and emotions. Remember his teaching: critical thinking. It has always worked on the commoner. Since he is no longer “treated” like a sex object, then what is his function here? Why does the lord keep him by his side? Why is he distancing himself from him? Yoon Seungho discovered through Kim’s revelation that Baek Na-Kyum confronted his admired sir and asked him to assume his responsibility for him. The noble hopes that the painter will act the same way, come to him and question his intentions so that the aristocrat can finally have a real conversation with him. The question marks WHY plays a huge role again.

Furthermore, I believe that Yoon Seungho is also counting on the poem. I am quite sure that the lord must have verified if Baek Na-Kyum still owned the poem. We shouldn’t forget that he already took it once without the painter noticing it immediately. Therefore I envision the lord visiting the painter’s study during the night and ensuring that the poem was still in the commoner’s belonging. The poem represents the noble’s confession. It illustrates how he felt during their “separation”.

“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.”

Let’s not forget that in this composition, the author is quite passive (“I was seated”) as if he was waiting. Baek Na-Kyum embodies the stream and the lover can only watch the river, waiting that the water embraces him at some point. That’s why once the painter confronts the lord, the latter can use it. Another possibility is that Baek Na-Kyum discovers the switch on his own and would like to get answers why there is a new poem and what it means. As you can observe, I am expecting that the poem will play a huge role in the couple, the aristocrat will use it as his love confession contrasting so much to the one Jung In-Hun wrote. The painter will sense the sincerity in this poem. Don’t you think that Yoon Seungho is very sensitive and romantic in reality?

But in order to trigger the critical thinking, he needs to use hearsay as well. He desires the artist to note the difference between the gossip and the reality, just like he was defamed as a man consumed by lust. This already starts with the remark voiced by the head-maid. Baek Na-Kyum is even put under pressure due to the head-maid’s comment. The aristocrat had changed after the painter’s arrival and now, he is returning to his old habits. With her words, she implied that the painter had affected the lord in a good way. He was different thanks to him. But are her words correct? Did the lord return to his old-self? Indulging in sex orgies and drinking.

She noticed that he would drink again. Yet striking is the noble’s visit in that scene happens during the day and not during the night. Secondly, the readers are discovering through hearsay again that young nobles call on Yoon Seungho.

Yet, the painter is always in his room. In other words, there is no sex session and Baek Na-Kyum recognizes it as he was not invited to join them for a drawing. Byeonduck would like the reader to act like Baek Na-Kyum, question the veracity of this gossip. We readers have it much easier than the servants, since we were beholders of his sex sessions and old habits. Yoon Seungho only had sex during the night. Furthermore, we heard before that the sexy protagonist would go to other places in order to have sex, nonetheless here he is not leaving his house at all. He just receives visitors. On the surface, it seems that Yoon Seungho has returned to his old-self but this is just a subterfuge. The hearsay is a tool used by the noble so that the low-born starts paying attention to him and wonders about his behavior. And in my opinion, it seems to be working. The painter is already observing the lord. Besides, I perceive a contradiction in Deok Jae’s comments. On the one side, he claims that the commoner has lost the master’s favors, on the other side he says this:

The master is hovering around the painter all the time. So despite the distance, the lord is not leaving the commoner’s side. He is like the poet, seated by the stream. Yoon Seungho’s gaze is always focused on the artist, like an eagle watching over his lamb. When the resentful domestic adds that the noble hasn’t so much as met eyes with the painter, he is actually saying that both protagonists didn’t spend time together like before. However, I doubt that the master’s eyes didn’t meet the painter, he was just starring at him from afar, hence he is sitting in that room with his friend. From that window, not only the artist can observe the lover, but also the noble can do the same.

As a conclusion, the noble is waiting for the painter. But this doesn’t mean that he no longer visits the painter’s chamber. From my point of view, he keeps visiting him, while the latter is asleep. He already did it in the past. Remember the chapter 2/3. Like I wrote it before, during that night, he recognized that watching his lover resting could be satisfying. He also noticed the painter’s habit: he is a deep sleeper, hence he won’t wake up due to the noble’s presence. He didn’t even sense the kiss during that night. I can also imagining that drinking is a way to relieve the agony the rich protagonist is actually going through. He needs to numb his sexual desires since his feelings for the painter are so strong. He is now waiting that his lover recognizes his own emotions and questions the lord’s behavior so that they can finally have a frank conversation, where the lord can finally confess his affection to the commoner. A poem as love confession does fit our character as he is not someone talking much. He has always had difficulties to voice hie emotions and thoughts. The poem will serve as support. So please have faith in the master of deception! He can’t help himself hiding behind gossips but this time, the hearsay has a different function: trigger the painter to think on his own and question everything.

And now, I would like to close this essay with the following remark. This is no coincidence that there is a snow fall in this chapter too. The snow fall marks a closure, the painter will stop thinking about his negative image, he will start focusing on Yoon Seungho. The story can now continue and the attempted assassination will be in the center of the next chapter. The chapters 45 to 51 were essentially focused on the relationship between the master and the painter and on their issues. A breakthrough is going to occur soon. There is no ambiguity about it.

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: Baek Na-Kyum’s confessions (part 5)

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 4th part, I explained that the main character Baek Na-Kyum made multiple confessions during the first season. I listed three confessions: the one in the chapter 19/20, the other in the chapter 25 and the final one in the chapters 41/42. I made this discovery because I had noticed the similarities between the chapter 49 and 20/21 hence I created a list of all the parallels. Only then I recognized that we had the same ingredients in the chapter 25 and 41/42. This led me to the following conclusion. Each time, Byeonduck used all the same ingredients but she changed the chronology. However, I count 4 confessions in reality, as we shouldn’t forget that in the chapter 40, the painter attempts to confess his love but he is stopped by the scholar. He is finally realizing his “dream” only to get rejected and even abandoned. For the teacher, the low-born is so impure, he came from a brothel and will never leave this social status. So the love confession Baek Na-Kyum always dreamed of becomes a disaster. His dream turns into a nightmare. Therefore I will come back to this confession in this essay, although my main focus is a comparison of the painter’s confessions in the presence of Yoon Seungho.

Before comparing all these confession scenes to each other one more time, I am quoting the list again as a help for my readers.

  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 prostitution/brothel
  8. The painter’s tears
  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

The moment, I started contrasting all the confession scenes together, I perceived new aspects in the common denominators. Let’s examine the first point, the reason why the lord went to the painter’s study. Before, I stated that he went there (chapter 19/20) because he saw it as an opportunity to taste the innocent man. The powerful aristocrat had witnessed the quarrel between the scholar and the artist, he thought that he could now approach the low-born. However, thanks to the comparison, I came to another revelation hence I would like to include another cause for his visitation. From my point of view, he was also worried about Baek Na-Kyum. He knew that the man had stolen the expensive and very strong wine. Let’s not forget that he was accompanied by his loyal valet Kim. So there was a mixture of concern and lust. The reason why I adjoin care is that we have the same motivation in the chapter 41 and in the chapter 48/49. In both scenes, he is troubled by the painter’s behavior. In the chapter 41, he heard from the servants that the low-born had been working non-stop to the point that he was even skipping his meals.

Look at the protagonist’s face, when he asks the painter about the reason for his behavior.

He is definitely troubled to discover his “loved one” crying. He has to find the reason for his tears. And during the chapter 47, his submissive, resigned and passive attitude caught the master’s attention as well. He kept wondering why the low-born would apology. As you can see, care was always the trigger for his visit to the painter’s study. In the chapter 48, he wasn’t just angry. If fury had been his only motivation in the chapter 48, then he wouldn’t have contained his anger. Yet during the chapter 48, the master remained quite calm. He acted like a master or a client at a gisaeng house, yet he kept talking to the artist, pointing out the weirdness of his attitude. He kept asking why, just like in the chapter 41/42. Therefore I come to the conclusion that care and concern were the biggest motivations for the lord to visit the painter’s chamber. In other words, Seungho has never been cold-hearted, like some readers are still judging him.

Now, if you pay attention to the second confession (chapter 25), it doesn’t look like worry is the lord’s motivation. But here, let’s not forget that they meet at the pavilion and not at Baek Na-Kyum’s study. At the pavilion, Seungho’s motivation was desire. He wanted a renewal of their wedding night. He imagined that he would see a painting of their first intercourse, a proof of their “marriage” and make love again to the painter, so that he could experience the feeling of being loved again. We should remember that the lord experienced his own liberation at a pavilion too so this place signified a lot to him. He first became disappointed, then worried because the artist hadn’t remembered their night together. He feared that this wonderful night would disappear forever, would just remain a dream, an one-night stand and this was not what the master was longing. That’s why he said this: As you can see, the more the lord spent time at the pavilion, the more he became troubled. His despair and worry pushed him to make the wrong decision: force the painter to remember their wedding night so that he could claim Baek Na-Kyum as his “wife” and partner.

As you can observe, by contrasting all the confessions, we get new interpretations and a deeper insight on Yoon Seungho’s actions, for the latter is not very expressive. Only his gaze reveals his true thoughts and emotions but this is not enough. Just looking at the lord’s actions doesn’t really mirror the protagonist’s personality. Worry and care were all present in the confession scenes.

Moreover, if you compare the chronology of the wedding night with the last one, you can observe another divergence. In the chapter 20, the kisses marked the beginning of their wedding night, which is quite normal during a wedding night, while the kisses in the chapter 49 have a different meaning. Here, the kisses and the hug are a sign that the relationship between Yoon Seungho and Baek Na-Kyum has improved, even deepened. They already had sex before, hence the kisses have another signification. In the chapter 20, Baek Na-Kyum was the only one hugging his partner while kissing. He wanted to make love, while the master was following his sexual desires or better said, that’s what he believed. I would like to remind that from my perspective, the noble was already in love with Baek Na-Kyum but didn’t recognize his own feelings as he had never introspected his emotions before. I even have the impression that he is still unaware of the depth of his feelings for the painter. In other words, in the episode 49, both main leads start making love. From my point of view, Yoon Seungho is making love to the artist, while the latter just perceives it as a sex session, as he doesn’t want to get hurt emotionally again. He prefers following his physical reactions, he is no longer repressing his unconscious. Yet, there is affection coming from the artist as he is someone with a big heart, like his erotic publications suggested. That’s why we have here again a combination of sex and love. This is understandable as the low-born doesn’t even grasp the true motivation behind his actions. His gestures are exuding love and affection and not just pure lust but since the painter doesn’t see his own actions in a mirror, he has the impression, he is only following his sexual desires. As a conclusion, the kisses in the chapter 49 mark the second phase of their intercourse, the love session.

We also had two stages during their first night. Back then, the master thought that he could have sex with the commoner finally hence his gestures were quite rough. He was just following his own interests and never paid any consideration for the painter. He was just looking for sex in his mind, but the moment he was told that his partner was a virgin, he was surprised. Nonetheless he was willing to change his behavior and became more gentle.

That’s why I come to the next topic, the presence of the brothel in all the confessions (20, 40, 41/42, 48/49). I would link to outline the importance of this aspect as the gisaeng house is associated to corruption and defilement. Since Yoon Seungho knew that the painter came from the gisaeng house, he imagined that he was not pure. He saw the images as a proof of his dirtiness. The paintings mirrored lewdness in his eyes, hence he thought that they would reflect the artist’s impurity. With this revelation (the commoner is a virgin), he recognizes that he somehow misunderstood the images. He just considered them as lewd, though in fact, they were beautiful as they are oozing naturalness and affection. The fact that the commoner was raised at a “filthy” place, yet remained pure, not just enhanced his virtue but also unveiled his innocence.

No wonder why the noble can’t let the painter go. Baek Na-Kyum embodies the opposite of his own life. While Yoon Seungho, due to his status as noble, was supposed to live in a world of virtue and honor, he experienced the opposite: treachery, dirty sex, corruption so that he ended up tainted and impure. The so called virtuous world of the nobility was in reality a filthy place. And that’s how he felt too and during their wedding night, he meets someone willing to accept him, a person who wanted to remain chaste out of love and fidelity. His words display honor and virtue, all the features that aristocrats should represent. This explains why the noble decides to take the painter as his wife in that moment. He sees him as worthy, Baek Na-Kyum is in fact the real noble person here. This explicates that the master doesn’t consider the social gap as a hindrance. Baek Na-Kyum has lived as a honorable and dignified person, unlike all the aristocrats Yoon Seungho has ever met. That’s why the marriage was important for the noble. It was, as if their union would clean the aristocrat from all the filth he experienced before. Right early on, I had associated their first night as a wedding night and the more I examine this manhwa, the more my interpretation is confirmed.

Strangely is that Jung In-Hun refused the painter because of his “dirtiness”, he preferred distancing himself from the commoner as he feared his “cleanliness” due to his title would be tarnished.

And in the last image, Baek Na-Kyum saw his own reflection in the teacher’s eyes, he was a prostitute. The glasses literally made him blind hence the painter could no longer consider himself as pure. However, I have the feeling that the scholar’s words will come to bite him because he will experience what Yoon Seungho went through in his past. He will discover how dirty and evil the nobility is. Jung In-Hun is already vicious, yet his arrogance makes him stupid and even naive. That’s the reason why in the chapter 42, the painter tried to act like a whore as he had accepted Jung In-Hun’s words and gaze as the truth.

That’s why the lord wasn’t even excited and suspected that Jung In-Hun had abused the artist’s innocence in order to obtain something. Striking is that later the noble gave in in that scene but he didn’t allow the artist to act like a whore. He ensured to please his “wife” and followed his advice. We could say that we have a reversed situation from the chapter 25. Back then, the noble used his right as husband to have sex with his “partner” and now, the painter was more or less cornered to act like a “spouse”, although the latter never perceived it that way. He just thought that he was judged as a prostitute. Let’s not forget that the master did follow all the painter’s requests in that scene. That’s why he kissed and hugged his lover so passionately, he wanted to comfort him so much but he failed to stop the painter’s heart from freezing. That’s why Baek Na-Kyum still judged himself as a whore after that night. And in the chapter 48/49, this time the manhwaphiles behold the lord acting like a real client at a brothel. He wants to provoke a physical and emotional reaction in the painter so that the latter finally leaves his state of shock. By playing this role, he wanted to make the commoner realize the harsh reality of a brothel and the real fate of prostitutes. He frightened the painter so much that the latter begged the lord to stop, to listen to his requests. However, this time he did succeed but still didn’t achieve his original goal: winning the painter’s heart. I am well aware that some readers are still thinking that Baek Na-Kyum hasn’t changed his view about himself. I have a different opinion because he is now the master of his own fate. For me, he has become a libertine, sure his negative opinion about himself is not entirely removed, yet he is now able to differentiate between his own interests and the ones from his partner, which he never did in the past. He imagined that Jung In-Hun’s interests were the same than his own hence he was willing to do anything for the scholar. He has finally realized his own existence so he is no longer the same person, a whore with no identity and desire. He is now creating his new life, making new rules.

Striking is that the painter’s origins are indeed a source of shame for Baek Na-Kyum and the image where Jung In-Hun expresses his disappointment “I thought you could be educated” explains why the painter had a low self-esteem concerning his social origins. He had no education. That’s the reason why he was attracted to the low noble in the first place. He met a person with some education that’s why we have now reached a crossroad for both characters. Yoon Seungho knows now why the painter behaved like that and in my opinion, he has already realized how he can solve this problem. The last image in the chapter 50 is already indicating that Yoon Seungho will become the “learned sir” Baek Na-Kyum has always wished. That’s the reason why the noble was only seen as a shadow. He hasn’t slipped into the role of the painter’s teacher yet. By giving him an education, the master will boost the commoner’s confidence so that Baek Na-Kyum can no longer deny his feelings for the lord. This will affect his perception about Yoon Seungho.

As you could see, the brothel play a huge part in all the confessions as it is connected to filth and corruption. Baek Na-Kyum hasn’t grasped that the protagonist fell in love with him due to his purity and innocence. Besides, he helped him to change his perception about himself (chapter 4, chapter 20). Through the erotic paintings and their wedding night, the noble has now regained his “virtue” hence he has become monogamous. He is a reformed man like the folks in town observed it.

Okay, that’s it for the 5th part. In the next part, I will keep comparing all the confession scenes again but I will examine this drawing more particularly.

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