Painter Of The Night: The puzzle with the paper 📜 📨 (second version)

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter 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:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/ 

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Announcement: The essay “The secret behind curry, apple and butter” has been updated.

Here, I would like to thank my friend Luzyla for her latest observations which made me realize the existence of a new connection!! Before elaborating my new discoveries, I would like to repeat the following principles on which the story was developed:

  1. There is always a reflection within the same chapter.
  2. The next episode is mirroring the previous one, naturally with slight changes.
  3. Each season is reflected in the previous and the future one.
  4. The author is working on positive and negative reflections.
  5. Thus the story is going in circle.
  6. Thus the lord’s destiny is reflected in the painter’s.

That’s the method I am using to unveil the mystery behind Yoon Seungho’s past and as such behind the painter’s.

1. Baek Na-Kyum’s apology

Everything started with this panel. (Chapter 5) Baek Na-Kyum was apologizing for his past behavior. He had insulted the main lead because of the poem. And his words sounded really similar to the butler’s in the library, for they both employed the same expressions: “That day” and “I spoke out of”. (Chapter 77) Striking is that the painter employed the expression “hand”, while the valet talked about “turn”. Why did they do that? It is because when Kim was caught committing a crime, he turned his head! (chapter 68) Thus in the library, the butler excused himself in front of the lord by using the following expression: “spoke out of turn”!! On the other hand, the painter had used his hand, (chapter 4), therefore he described his wrongdoing with the following expression “out of hand”. In my eyes, his words indicate the interference of the butler. Furthermore, the two men had a drop of sweat, a sign that they were not truly honest. (chapter 77) Both were apologizing, as they had wronged the noble. As you can imagine, the similarity in the excuse is no coincidence. The proof that both incidents are reflections is that they have another point in common. The wrongdoings of the low-borns had taken place in front of a gate. The butler had disobeyed his master (chapter 68), and the painter had assaulted the lord by trying to retrieve the poetry. (Chapter 4) Because both characters had violated social norms, showing disrespect towards a noble, (chapter 04) the consequence was that two people were pushed down, the black guard and Baek Na-Kyum. (Chapter 4) In other words, since Yoon Seungho had punished the butler due to the incidents in episode 67/68, I deduce that episodes 67/68 were reflections of episode 4/5 as well!! This corresponds to the rule 2 and 3.

1. 1. Yoon Seungho, the commoners and the Lees

But this doesn’t end here. When the lord caught Kim’s wrongdoing, he was returning from the Lees’ mansion (chapter 68). Since this is the positive reflection, I am deducing that in chapter 4, Yoon Seungho was actually returning to the domain of the Lees, as it should mirror the opposite. (chapter 4) Let’s not forget that just before the great entrance of Black Heart and the protagonist in chapter 67, this was what the author showed us: (chapter 67) And now compare the building to this one from chapter 1: (chapter 1) Under this light, my theory that Yoon Seungho was living with the Lees in the beginning of the story gets reinforced and even validated. In season 1, Yoon Seungho had sex with his friend in the pavilion so that the father and the staff could see the truth: the young master Jihwa was a sodomite. But since we saw Yoon Seungho in that building in episode 1, we jumped to the wrong conclusion that this was his house. But actually, from chapter 12 on, the author was showing us that we had been deceived. This was the lord’s house, and note that there is no building in the big courtyard contrary to the domain from chapter 67 and 1. (Chapter 12) (For more read the essay “Lee Jihwa’s special relationship with Yoon Seungho”) Then in season 2, the main lead forced the elder Lee to hear what he had been denying all this time (Chapter 67), while in chapter 3, he could only witness it from the patio. On the other hand, Yoon Seungho had been proactive during their sexual encounter, hence the father could only blame the main lead for his son’s debauchery. The intimacy in the pavilion was in verity hiding Yoon Seungho’s huge traumas. But due to Lee Jihwa’s confession in the inn, the red-haired master’s reputation got ruined in town and this must have definitely reached the father’s ears. Striking is that when Yoon Seungho confronted Lee Jihwa with his crime (abduction of a person from his household), the red-haired master ran away and hid behind the folding shield. Thus he never apologized to his friend. And it was the same with the elder Lee. The latter knew about his son’s wrongdoing, for he accused the intruder immediately. (Chapter 67) As you can see, the absence of the excuse from the uke and his father outlines that chapter 67 is a reflection of episode 5 and 77. I detect a pattern, chapter 5 contains a superficial apology, chapter 67 no apology and chapter 77 a fake excuse again. Furthermore the manhwalovers can recognize that in the same episode (episode 5), the antagonist Jihwa had indeed wounded the painter with his insult too, a reflection of episode 4. (Chapter 5) This confirms that chapter 5 is connected not only to episode 77, but also to chapter 67/68. We have the same elements: an incident linked to a door (chapter 67), insults towards the main leads, a wrongdoing, the allusion to love (chapter 67), a punishment, but also the absence or presence of an apology. But all of these episodes have other similarities: hypocrisy and arrogance. The Lees were looking down on Baek Na-Kyum and Yoon Seungho (chapter 5-67), while in episode 77, it was the butler who yelled and criticized the noble. (chapter 77) By detecting a reflection between these chapters, I had a new revelation.

1. 2. The lord and the papers

In addition, if the manhwaphiles compare the scene with the painter’s excuse (chapter 5) to the scene with the butler’s (chapter 77), they can detect the fourth parallel: Yoon Seungho’s correspondence. 😮 How is it possible, as in episode 5, the noble never wrote a letter? In fact, he gave the poem to the black guard for the investigation. On the other hand, it looked, as though Yoon Seungho had written a letter (chapter 5), while it was not the case. As you can see, anyone seeing the black guard leaving the owner’s study could have had the impression that the lord had written a letter. This means that this mistake must have taken place later again due to the rule 2! The manhwalovers could discover the deception in chapter 37/38!! (chapter 38) That’s how Jung In-Hun got misled. (chapter 38) Yoon Seung-Won had never received a letter, but the ruined painting. The readers only discovered the trick in the final episode, when the father was looking at the picture. And this connection between a letter and a painting was reflected in season 2. While Min stole the painter’s last creation (chapter 56), Jihwa sent a forged letter (chapter 56). Striking is that the butler was the one who received the paper before delivering it to his sick master. These two scenes (38-56) indicate that the valet is related to the correspondence. Moreover, he was seen delivering the message to Yoon Seungho in the courtyard. (chapter 35)

All this proves that in chapter 5, the butler had seen the black guard departing from the study with the paper in the hand, and he had jumped to the wrong conclusion that his master had written a letter. Therefore right after this conversation, the lord’s table vanished. (chapter 5) It was, as if he was not allowed to write any letter. So where did the table go? To the study!! What caught my attention is that after the first painting (chapter 2), the table had been removed from the study, just like the papers. (chapter 4) This was no coincidence. It had been sent to the lord’s bedroom, but after the lord had tasked the black guard, it was no longer there. This is the indication that someone was interfering with Yoon Seungho’s habit to take a brush. And this can only be Kim. As you can see, the appearance and the vanishing of the small table is the element which was reflected in chapter 1, 2, 3, 4 and 5. And now, look at the scene where Lee Jihwa met Min. (chapter 67) The table had also disappeared. And when did it happen? (chapter 21) The noble had ransacked his own room with his sword. And what did we see in that episode? A paper folded in a book. (chapter 21) In other words, the First Wedding night is also a reflection from these chapters (4/5, 67/68, 77), for it contains the same elements: (chapter 20) an incident with a door, someone is pushed down, a wrongdoing committed against Yoon Seungho (theft), an apology (episode 19) and the importance of the table. According to me, the valet had put the expensive wine on the painter’s table on purpose. To conclude, I see a connection between episode 4/5, 19/20/21, 67/68 and 77.

And now. you are wondering if I am not drifting away from my initial statement, the painter’s apology. However, I would like to remind the readers that in order to write a letter, a person usually needs to have a table in order to write properly. So imagine the butler’s reaction, when he hears from Yoon Seungho this: (chapter 77) He can not trust his words, especially since he views the nobles as violent liars. Why? It is because there was this huge table. This is no coincidence that right after the valet betrayed the main lead and wrote a message to the patriarch. That’s how I had another revelation. The butler is symbolized by the table! Thus he was often seen with this small table (chapter 11) (chapter 17) To conclude, when the butler saw the black guard leaving the mansion, he believed that his master had sent words to someone! That’s the reason why he removed the table and returned it to the painter’s study.

(chapter 5) However, this was just the poem!! This confusion between a letter and a poem should be reflected in season 3 according to rule 3. That’s how I came to the conclusion that when the painter returned to the annex and took the poem, he was actually taking a letter (chapter 97) written by Yoon Seungho, but he envisioned that this was the Spring poem! (chapter 97) We had the same situation. Black Heart had stolen the Spring poem, and the noonas had deceived the protagonists by faking admiration in front of an empty paper. (chapter 93) Since the paper in episode 93 was empty, I could only come to the deduction that this paper contained words!! (chapter 97) Another evidence for this theory is the color of the paper, for the second doesn’t have a shade of pink. Then I suddenly recalled that the artist had received two calligraphies, the one from his beloved and the other from the old bearded man. (chapter 92) The latter’s work was a copy of Yoon Seungho’s poetry, the repetition from chapter 4. Hence you comprehend why I deduce that the paper in the annex was different from the Spring poem. So during that night, Yoon Seungho left a note to his lover, and that’s how the butler discovered that the artist could not read Chinese, for he saw his master writing in hangeul. But there exists another evidence for this interpretation. Baek Na-Kyum had wished this: (chapter 97) The goddess was actually fulfilling his wish, when she reminded him of the Spring poem.

And that’s how I realized why Kim had suggested to his master that two servants should remain by Baek Na-Kyum’s side and bring him back to the mansion. The reason is simple. The two domestics were to divert the artist’s attention, that way the painter wouldn’t read the letter. If the domestics were present, they could give some information to the painter without revealing too much. (chapter 97) If the lord had mentioned in the letter that they had found the corpse of Deok-Jae, the painter would have believed him. However, as you can envision it, the butler and Min were determined to generate a misunderstanding, to create the illusion that the scholar had died. Consequently, the servants deceived the main lead by omitting the existence of the paper. They had not delivered the message properly.

In other words, the letter is connected to a painting and a poem, yet each time, the paper was stolen or misused. Striking is that none of the main characters noticed the switch or the vanishing. We could say that this was Yoon Seungho’s karma for stealing the painter’s belonging. (chapter 4) His own poetry got stolen. But let’s return our attention to episode 5. Since the lord had given the poem to the black guard, this signifies that the lord no longer had the sijo. Therefore he had to write the poem again in order to mask the disappearance. In my opinion, he must have copied the original poetry for the artist in order to prove that he had not been lying. Hence the paper looked different. And this brings me back to the painter’s apology in the patio. (chapter 5) Why did the painter apologize to Yoon Seungho in the end? How did he come up with such an idea? It is because this had been suggested to the artist by Kim. This explicates why he was speaking like the butler. The latter had actually made a huge error, when he advised the artist. Why? It is because he was mixing cause and consequence. In the valet’s mind, the lord had kept the message, for the painter had offended him. So if he were to confess his wrongdoing, the lord would return the poem, and after that, it was just a matter of time, until the painter would desert the propriety. However, the lord had stated this: (chapter 04) That’s the reason why he had taken it in the first place.

Since Kim had been the one suggesting to the painter to beg for forgiveness with the hope that he would get back his poetry, it is normal that Kim was present, when the poetry was returned. (chapter 7) But where is the sijo now?

In my eyes, Kim had witnessed how the paper had left the property in the past, and he had not intervened. Why? It is because of the black guard. (chapter 65) Moreover, I believe that in chapter 65, he had collaborated with the noona. He had shown her the painting of Baek Na-Kyum, while in the study there was a blank paper. As you can see, in season 2, we had again this connection between a painting and blank paper. But let’s return our attention to chapter 5. The black guard was acting on the order of someone else, Yoon Seungho was not the one hiring him. The butler hates ruckus, his MO is to lie low and act in the shadow. If he had retrieved the paper, the man could report it to the master of the black guard. On the other hand, he could have asked the warden about his master’s request. He just needed to say that he desired to assist him, similar to this situation. (chapter 82) Thus I conclude that when the lord returned the paper to Baek Na-Kyum (chapter 7), Kim must have realized his error. He had mistaken the poem for a letter!! This explains why he repeated the trick with the younger master Seung-Won. But unfortunately for him, he was caught by the teacher who asked the painter about the letter the next morning. (chapter 38) Baek Na-Kyum could have realized that the butler had acted behind his master’s back. The problem is that during that evening, the lord had indeed written a letter to his brother (chapter 36), but the moment the latter interrupted the couple (chapter 37), Yoon Seungho chose to hide it. But why is it important? It is because if the painter had mentioned the paper given to the younger master to Yoon Seungho, the latter could have noticed the valet’s meddling and wrongdoing. On the surface, it looked like Kim had written himself a letter to the younger master. In other words, in episode 37/38, the butler gave the impression that he was a spy, for he was acting without his master’s permission. He had even left the propriety, as he was standing outside in front of the gate. Don’t forget that during the meeting, the brother had mentioned that he had sent him many letters (chapter 37), and there is no ambiguity that Kim had intervened. Here, the lord had said nothing, for he imagined that Kim had done it to protect him from his family.

According to my theory, Yoon Seungho was living with the Lees, and as such Baek Na-Kyum had to trespass the propriety in order to retrieve his tools and vanish!! (Chapter 4) But on his way out, he met Yoon Seungho who had just missed the painter’s departure. But there, he discovered that the main lead had stolen his poetry. (Chapter 04) Therefore he was forced to return to the mansion. At the same time, Yoon Seungho was encouraged to come back to the propriety too. He had to keep an eye on the painter. He couldn’t be so sure that the poem was strong enough to keep Baek Na-Kyum by his side. Therefore it is not surprising that in episode 5, Yoon Seungho was seen sitting in front of the window smoking. (chapter 5) He was looking at the gate and as such making sure that the artist’s departure would be noticed. By sending the low-born to the Lees’ mansion, Kim was encouraging the painter to commit a crime: trespassing! But the artist was fortunate, for he was not caught by the lord of the mansion, who preferred hiding due to the ruckus caused by his own son. 😉 As for Yoon Seungho, he came back to the mansion and saw the empty study. Kim just needed to say that the low-born had left to the Lees’ mansion. This is important, because this indicates that in chapter 4, the couple missed each other first! And this situation was repeated in season 3, precisely in chapter 98, when the lord returned from the bureau of investigation (chapter 98)! The lord arrived just after the painter’s departure. And who was with the main lead? Kim. As you can see, the lord’s luck seems not to be on his side, for Baek Na-Kyum had just left the propriety. Once again… the lord was standing in front of the gate!! As for season 2, this time, it was Kim’s fate to miss his master. (chapter 56) The reason for this punishment is simple. He had sent away the artist to the study just before Yoon Seungho regained consciousness. The latter didn’t see that the artist had taken care of him during that night. Thus the butler’s karma was not to notice his master’s departure which stands in opposition to chapter 4 and 98. And note that all these chapters have the paper as common denominator. So imagine the butler’s surprise in episode 4, when he witnessed the artist’s return to the mansion followed by his master. He had sent away Baek Na-Kyum with the hope that the artist would desert the town for good, but no…

2. Kim’s hidden action

Kim must have been intrigued. Why did Baek Na-Kyum come back? He had witnessed the execution of a servant, then he had been abducted before getting imprisoned in the storage room. Finally, he had been threatened and forced to paint an erotic picture. Hence Kim felt the urge to discover the reasons for the painter’s behavior. In other words, he must have interrogated him, the older version of this scene: (chapter 23) The first similarity is the allusion to his bag. The butler was actually thinking that during the hunt, the painter would decide to run away. That’s the reason why he asked about his belonging, for in the past, he only wished to vanish after retrieving his tools. Naturally, the artist saw no harm in the butler’s question and answered truthfully. He must have narrated the argument in the courtyard about the poem. Yoon Seungho had kept the sijo, consequently the painter had used his hand to take it back and had by mistake removed the lord’s hat. Thus Kim must have told him that he just needed to apologize. But one might say that this is just a story imagined by me. The manhwaphiles never saw such a scene. But don’t forget the existence of the reflections. I have definitely an evidence for this theory. Since the butler had manipulated the painter in chapter 4 in order to get rid of this uninvited guest, his karma was to receive a new guest!! (chapter 7) This is not what the valet truly desired at all. He wanted to live in peace. But now, he had three new people he had to serve: Jung In-Hun, the painter and his own master Yoon Seungho who had lived for quite some time in the Lees’ mansion. He had to work!! And note that in this episode 7, we have the following elements:

  • The arrival of a guest, exactly like in episode 4-5; 67/68 and 77.
  • a paper
  • the library
  • a reference to “love”
  • the first appearance of Kim
  • The existence of a deal which is also present in chapter 4 and 77
  • The connection between the letter and a poem (chapter 5-77)

This truly shows that during that night (chapter 77), the valet chose to write a letter in order to denunciate the protagonist. As you already know, attack is the best defense. Exactly like in the courtyard, he badmouthed a noble, this time he must have compared Yoon Seungho to the younger brother Yoon Seung-Won. The latter would succeed with the civil service examination and bring glory to the Yoons, whereas the main lead would only live like an idle sodomite.

Through this contrast, another detail caught my attention. (chapter 7) How did Yoon Seungho know that the learned sir had no connection and was poor? Who had told him that? One might think that this can only be the butler. However, Yoon Seungho had tasked the black guard to investigate and not Kim. Yet, there is no ambiguity that the latter definitely played a role in this investigation. Why? It is because of the expressions the main lead was using: “hardly knows”, “determination”, “labor in vain” which resembles to the valet’s vocabulary, though he embodies the opposite: ignorance, hesitation and laziness. The aristocrat’s description about the teacher is actually questioning the main lead’s actions. If Jung In-Hun was portrayed as poor and powerless, why would he sponsor such a scholar? He would gain nothing. Moreover, with such a portrait, the speaker is implying that only through connections you can achieve greatness. These words are actually exposing the meaningless of the civil service examination. In other words, this description was already insinuating the existence of sodomy, sex in exchange of favors. And this negative depiction of the civil service examination was exposed once again in the gibang. (chapter 93) It was a futile dream. When I had analyzed episode 93, I had explained that the speech from the main lead was influenced by the butler. As you can see, the lord’s narration (chapter 7) was mirroring the valet’s mentality and meddling. He had tried to stop his master from visiting the learned sir the day before. However, I don’t think that Kim is only responsible for this negative characterization of Jung In-Hun in episode 7! Why? First, we never saw the return of the black guard, but when the main lead visited the learned sir’s mansion, he was followed by another one! (chapter 6) There was a switch. That’s how I had this revelation. Heena is the missing link between the learned sir and the protagonist. And observe that in episode 93, we have the same elements again:

An empty paper which is confused with the poem

The incident with the door: (chapter 93) This time, Heena is the one standing behind closed doors, while it was Yoon Seungho in chapter 77

The reference to the library:

The allusion to Kim

The presence of love and affection:

The lord got badmouthed

The fake apology: (chapter 93) In chapter 99, the noonas still lied to him.

An invitation (chapter 93), which was also present in chapter 4/5, 7 and 67/68 and finally 77 ! Since episode 93 is a reflection of episode 7, I could only come to the conclusion that Heena was the one standing behind the black guard! Besides, I had already discovered that Heena was associated to the table as well (see chapter 94 and 68). She represents the link between the butler and Jung In-Hun. She had already collaborated with the valet in episode 65. So from my point of view, she must have received the scholar’s poem with Yoon Seungho’s request. But what could she do with it? Keep it? No… her interference would have been noticed. Hence I believe that the kisaeng was not acting on her own. She was following the orders from the mysterious “lord Song”. At the same time, I think that she is also connected to the Lees. This would explicate why the black guards would change between episode 1, 5 and 6. Finally, according to me, the learned sir had connections to elder Lee, for he had seen the baby Na-Kyum at the gate. (chapter 1) [For more read the essay “Baek Na-Kyum’s origins”] There is no ambiguity that these words (chapter 7) were not reflecting the verity.

In other words, she had been working for two people, just like the butler was turning Yoon Chang-HYeon against the son and the reverse. Both stands for disloyalty. Therefore it is no coincidence that the kisaeng was seen with different black guards in chapter 64. On the other hand, the readers should keep in their mind that the black guard can be seen as a double-edged sword. They can serve as protectors, but also as “spies and as captors”. They could report Heena’s actions to the nobleman who had hired the black guards. Finally, the manhwaphiles will certainly recall the butler’s statement: (chapter 55) Who was lord Song’s contact person then? In the past, I used to think that he was the one receiving the letters. But now, I have a different opinion. I believe, it is Heena! Why? It is because Kim couldn’t identify lord Song’s writing. According to me, Yoon Seungho was sent to the gibang in order to entertain the mysterious “lord Song”. Thereby I am assuming that the kisaeng would receive a word from lord Song and have the main lead fetched from the mansion by the black guards. Heena and Yoon Chang-Hyeon are the only ones seen with black guards, I am excluding the main lead, as he was always more or less their prisoner. As you can see, there is a connection between the noona and the Yoons.

3. Heena and the letters

First, I would like to point out that the kisaeng mentioned letters twice in season 2. (chapter 68)(chapter 69) and in season 3, the noona sent messages to her brother herself. In two different chapters (chapter 91), she is related to papers. (chapter 97) Logically, the noona in connection with the letter should be present in season 1. Secondly, when the woman appeared for the first time (chapter 64), she was accompanied with 2 guards, which is quite similar to the lord’s situation in chapter 1. That’s the reason why I believe that she didn’t keep the learned sir’s poem. Her betrayal could have been noticed and this was the first time that Yoon Seungho was making such a request.

So where is the teacher’s sijo? It was received by the mysterious “lord Song”. That’s how he discovered that his ex-lover was showing an interest in the learned sir. This is important, because the poem will serve as the evidence to identify the murderer behind Jung In-Hun’s death. On the other hand, one might refute this idea, for the teacher was seen in his bedroom with the paper. (chapter 21) But if you look more closely at the paper, you will realize that it resembles a lot more to this one due to the marble effect. (chapter 7) Nevertheless, the paper looks damaged in the previous panel. But this could be the result of anger, like this. (chapter 56) This would follow rule 3. Then according to rule 2 of the kaleidoscope, elements from one episode will be constantly mirrored in the next chapters. And what did we have in episode 19? A larceny… the bottle of wine vanished. Then in episode 20, the lord stole the scholar’s identity, while he stole the painter’s virginity. Hence the lord apologized to the painter for his wrongdoings. (chapter 21) And above I had already demonstrated the connection between the First Wedding Night and chapter 5 and 77! Here the lord was imitating the pedophile’s behavior, hence you comprehend why I think that lord Song was the recipient of the poem. I would like my readers to keep in their mind that the learned sir’s sijo was referring to a painful departure, the loss of a loved one and despair! The beholder could have the impression that the author was suicidal due to the mention of the well and the torment of the mind. Thus I am now assuming that the “mysterious lord Song” will consider the sijo as a farewell, the lord chose to commit suicide and his death was related to Jung In-Hun’s curtains. Why? It is because Heena wrote letters to her brother where she accused the main lead of killing the learned sir. Moreover, Yoon Seung-Won had definitely mistaken the painter for the learned sir. (chapter 37) His position revealed that the main lead trusted the artist. It was, as if he was treating him like his wife. (chapter 97) And from my point of view, these messages were never burned. That way, Kim can put the whole blame on the kisaeng and her brother!! The butler can even reveal how Yoon Chang-Hyeon had harassed the son and tried to frame him for the death of his messenger.

But since “lord Song” was behind the scholar’s murder, he can only retaliate against Lee Jihwa and Min’s friends. Why? Because he will deny his responsibility in the crime, though he was the one who ordered it! Exactly like in the past. He had never assumed any responsibility, he always let others take the accountability. He needs to find a culprit in order to vent his fury. If they had not brought up the learned sir’s assassination, then Yoon Seungho “could have lived” in peace. To conclude, when the lord gave the paper to the black guard, the pedophile had the impression that the main character was rekindling with him, for he was asking for his help. He was far away from him. In his eyes, he had contacted him, “lord Song” alias the king!! And now, it becomes understandable why lord Song sent hanboks and asked Min to organize parties for Yoon Seungho!! It is because the pedophile believed that the main lead was no longer pushing him away or had accepted him. This is not surprising that little by little, the main lead’s hanboks became more and more beautiful. Don’t forget the following rule, the painter’s situation will be mirrored in the lord’s. Thus in chapter 34, Yoon Seungho returned with a hanbok covered with cranes (chapter 34), and shortly after the painter was sent to the tailor. But during that night, the pedophile and Yoon Seungho had missed each other due to Baek Na-Kyum. He was not dead. So when the painter received new clothes, it was the same for Yoon Seungho. Yet, the pedophile was gravely mistaken. Why? The sijo had been stolen, and as such it was never addressed to the pedophile. Furthermore, it is because the lord was suffering from memory loss. Moreover, I believe that the main lead is not aware of the true identity of his sexual abuser. In his mind, it is just lord Song. But this doesn’t end here.

According to me, the main lead wrote a letter to his lover in the gibang. This signifies that someone else must have done the same due to rule 1 and 2. The reference of the Spring poem in chapter 97 indicates the presence of a letter in the previous episode or the next! From my point of view, Min must have asked the kisaeng to contact “lord Song”!! And don’t forget that in season 2, we had a forged letter. (chapter 57) And who was behind this? Black Heart’s friend. But then it came to my mind that Black Heart had stolen the Spring poem… so he could have sent the paper to lord Song and the latter would have mistaken it as a letter from Yoon Seungho, the latter was reaching out to him. He was wishing him luck!! So imagine that when the man arrives in Jemulpo, he imagines that the main lead is waiting for him only to discover that Yoon Seungho vanished. He wished to die because of the loss of a loved one. And that’s how he will recall the poetry of the learned sir… the reflection of this night!! (chapter 94) In episode 4, the lord had laughed about the sijo, but it was no longer the case in the kisaeng house. In my eyes, the pedophile will go through the same experience. Yes, the effect of the kaleidoscope. He will perceive the learned sir’s poetry under a different perspective. Only in that moment, he will realize the suicidal tone in the sijo. He will question how Yoon Seungho could become so desperate and suicidal so suddenly. And now, you comprehend why Heena was trembling in front of her brother, and why she had planned to leave the gibang that night!! She was aware of the arrival of “lord Song”. She knows how cruel and ruthless he can be.

And Lee Jihwa’s words will become a reality. (chapter 101) Blood will flow… The proof for this expectation is that chapter 67, 77, 82 and 93 are all referring to punishment. Kim had been beaten in episode 77, while the kisaeng was imprisoned in the storage room. Moreover, we have the use of the sword in episode 21 and 67… and during these nights, the protagonists had made love to each other.

4. Father Lee’s message

Since the Lees are connected to paper in the form of the paintings and the letter, (chapter 5, 10, 15, 17, 56), I had suddenly this question! Why didn’t Lee send a word to Yoon Chang-Hyeon? Why did he have to visit him during the night? (chapter 82) (chapter 82) It is because he didn’t want to leave any evidence of his intervention. No one should notice that he had paid a visit to the patriarch either. His visit should remain a secret. He was actually afraid of getting detected. The reason is simple. He was fearing the person standing behind Yoon Seungho, lord Song. He had two reasons for this. First, he could see that Yoon Seungho was no longer treated like an animal or male kisaeng. (chapter 67) He was even better dressed than his own son. The hanbok was exposing the support from the “pedophile”. Secondly, the main lead had threatened him. (chapter 67) Here, the lord had just insinuated that if something like that happened again, he would go to the authorities. However, since this threat was rather ambiguous, the patriarch Lee could only interpret it that way. The main lead would report the incident to the “mysterious lord Song”, alias the king. And father Lee knew that he could get into trouble. Furthermore, since these elders are all hypocrites and liars, there is no doubt that father Lee feared that the protagonist wouldn’t keep his words. That’s the reason why he approached the father. He hoped that Yoon Chang-Hyeon would intervene and impose his will onto his son. He would tame the main character. In other words, episode 82 is a reflection of chapter 4/5, 19/20/21, 67/68 and 77. The first common denominator is the allusion to letters. The messenger’s words revealed that Kim had contacted the elder Yoon, for he already knew his name, though the latter had never met the domestic. Secondly, the “letters” were delivered orally: (chapter 82), and even in person: Father Lee and the emissary. Third, the elder Lee badmouthed Yoon Seungho by mentioning the incident from chapter 67, and refused the invitation of his host (chapter 82). Finally, he called Baek Na-Kyum a peasant exactly like the main lead in front of the gate: (chapter 82). But more important, the old bearded man expressed this fear: the loss of his family home! (chapter 82) And remember that I had detected the presence of the Lees’ mansion in episode 4 and it was also present in chapter 21 and 67! And what had the butler done during these chapters? He had tried to chase away the painter and as such Yoon Seungho. The latter was not supposed to live in the Yoons’ domain. And this will be the Lees’ karma to be driven out of their own house!

5. Conclusions

And now, you comprehend why the sijo from season 1 has not appeared yet. The couple will be able to identify the culprits with the “letters”, the poems. Remember the kisaeng’s words: (chapter 97) The absence of the messages was the evidence of the main lead’s wrongdoing. However, the moment the letters resurface, they will expose the noona’s lies. It doesn’t matter, if she had been deceived. She chose to trust the butler, without verifying the facts. To conclude, the poems will serve as proof for the crimes and I would even go so far to say that the papers, mistaken for letters, are the tools to expose the truth. Yoon Seungho had never contacted lord Song, for he hates him to the core. He is connected to his suffering and martyrdom, therefore he can only view the man as the bird of misfortune, while the latter had the impression that he was now getting closer to the main lead. Consequently, he considered him as his crane! But this man is exactly like Min, totally dishonest and irresponsible. I couldn’t help myself thinking of this folding shield again: (chapter 83) It vanished, and as such it was stolen. Did the mysterious lord Song take it away in order to force Yoon Seungho to paint? The older version of this scene: (chapter 4) And remember that the “paper” is also connected to paintings. However, since this is a reflection of episode 4, I am more inclined to think hat the real purpose was to take the picture and the man had never the intention to return it. Naturally, at some point, the man had a change of heart concerning the main lead, for thanks to him, he could outlive all his sexual fantasies. And this leads me to the following conclusion. The moment, Yoon Seungho sees this painting again, he will recognize the identity of the thief. To sum up, the paper is the proof of wrongdoings, thereby we have this publication: (chapter 1) The paintings were illustrating that the pedophile was having sex with a minor.

PS: I have still so much to say about the comparison between chapter 5 and 77 and the “paper” that I will write another analysis about this.

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: A guided tour of Yoon Seungho‘s domain🏡

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter 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:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  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.

When I recognized that this room (chapter 1) was not the lord’s bedchamber, because the author had placed it in this building (chapter 1), I realized that we should pay more attention to the location of the rooms. From that moment on, I tried to make a map of Yoon Seungho’s propriety. With this new insight, I made many new discoveries. Thus in this essay, I will guide you through the lord’s domain, although we will have to make a short trip to town as well. 😉In addition, I would like to point out that I am still missing some elements, like for example the exact location of the library. I have some suspicions, but I can not guarantee it for 100%. Before starting the guided tour, I would like to list the different buildings: the lord’s bedchamber, the stable, the shed, the servants’ bathroom, the shrine, the painter’s study, the kitchen, the scholar’s room, the pavilion and finally the library. The starting point for the orientation is the main gate. (chapter 68)

1. Yoon Seungho’s bedchamber

It is facing the main gate and it is situated on the other side of the courtyard. (chapter 25) As you can see, on the side we have a tree which is visible from the patio. The foundations for the patio are in water. (chapter 83) If you combine both images, you will realize that this basin has nothing to do with the pond where the pavilion is. In addition, the terrace attached to lord’s bedchamber has a view on the building where the lord and the painter were held captive in the shed. (chapter 74) Another important aspect is that there’s a yard behind the bedchamber and the patio. (chapter 12) This explicates why Lee Jihwa could drag the spy amateur and interrogate him. (chapter 13)

2. The shed

It’s situated on the right of the main gate and stands perpendicular to the lord’s bedroom. (chapter 77) This signifies that the building is facing the servants’ bathroom which stands on the other side of the courtyard. This explicates why you see the washroom in the background (chapter 64), when the protagonists caught Kim spying on them in the courtyard. As the manhwaworms can view, the lord’s bedchamber and patio stand behind Kim’s left shoulder.

3. The stable

Yes, I could get a clue about its whereabouts. (chapter 25) It is placed outside the mansion, for the lord entered through the main gate. This explicates why you view the patio juxtaposed to the painter’s study in the background. The building has no foundations in water. (chapter 25) Besides, you can see the tree in the background (chapter 25) which is situated next to the well and the servants’ washroom. Since the lord brought the hose in the courtyard, this means that the pavilion is located in the opposite direction. This observation is important, for the lord is standing at the entrance of the mansion: (chapter 98) So he is not far from the stable.

4. The servant and the lord’s bathroom

From the gate, you have to turn to the right and walk by passing the well and the tree. The servants’ bathroom is the background. It is situated on the left of the propriety, behind the patio located next to the painter’s study. (chapter 51) This information is important for two reasons. First, the bathroom is not far away from the well and secondly, there is no other room or building next to the washroom. However, right behind the building, there exist some stairs. (chapter 19) And now it is necessary to outline why the location is really relevant. It is related to the incident with the sword. Observe that when Kim left the restroom, he encountered the lord outside in the courtyard. That’s the reason why you see the tree and the wall in the back. (chapter 26) This detail made me question this: How could Yoon Seungho fetch the sword within a few minutes, though the bathroom is far away from the bedchamber or any other building? (chapter 26) That question confirmed my previous theory: the butler was listening to their conversation. Thus Byeonduck created such a panel. (chapter 26) Since the lord had brought some clothes for the painter, this signifies that Kim had returned with the sword, but he hid in the shadow. Observe that the lord is going to the right, though on this side we have the stairs. On the other hand, this is where the butler was standing. So on his way out, the noble met Kim and the latter handed him over the weapon expecting the noble to kill the artist. Kim couldn’t imagine that Yoon Seungho’s jealousy would make him target the learned sir, especially because the other was in his bedroom, far away from the bathroom. And that’s how I recognized a new pattern. Remember my previous interpretation: the painter is the lord’s reflection. However, in the first season, it was not entirely correct. Why? Because Yoon Seungho was mostly the valet’s reflection. But as time passed on, the artist’s personality affected the aristocrat’s. That’s the reason why the butler started making false predictions. And the manhwaphiles need to question themselves where the learned sir was staying and how Yoon Seungho could walk through the courtyard without any interruption. (chapter 27) However, to answer this, this signifies that I have to leave the servants’ bathroom.

On the other hand, the location of the servants’ bathroom plays an important role in another aspect. Look at this scene. (Chapter 25) The lord was taking a bath after the forced sex. Observe the quality of the wall and now compare it to the bathroom in the second season: (chapter 70) There was wood and windows, but no wall. (chapter 26) This means that the butler prepared the bath for his lord in the servants’ bathroom!! Thus I conclude that only after the abduction, the lord could wash himself in the master’s bathroom which is located elsewhere. I assume that it is situated not far away from the bedchamber, which is on the other side of the courtyard. (chapter 70) (chapter 70) The readers can detect trees in the background and on the left side a multi-level terrace. (chapter 12) This means that the lord’s bathroom is situated on the left of this picture, but it is not visible. However, in the last panel, you can see a well indicating that the domain has two wells. This confirms that the owner’s bathroom must be on the other side of the bedchamber, closer to the wall and the terrace with grass. They usually built bathrooms close to a well in order to lessen the burden of carrying water. This is not anodyne at all. Why? Through this incident, Baek Na-Kyum discovered the lord’s real bathroom. My readers will certainly recall my theory about the incident with the “pervert”. After Yoon Seungho’s return from the hunt, Baek Na-Kyum was sent to the bathroom in order to assist his lover. So where did he go? Naturally to the noble’s bathroom, where he caught the maid having sex with the butler. In other words, Kim was bathing in the lord’s bathroom!! A new version of this scene: (chapter 71) A huge violation of laws!! The servant manipulating the painter hoped that Kim would be punished, for he had heard that the painter was a traitor. He expected that the low-born would tattle on Kim to his husband, but unfortunately for him, nothing happened. I hope, you can now situate the two bathrooms in the mansion.

Before leaving the lord’s bathroom, I would like to explain why Byeonduck drew such images in episode 70 which were quite confusing! (chapter 70) Observe that the houses have thatched roofs. This means that the painter and the domestic are walking through the streets of the city. But why? It is because the butler had given the instruction to let the artist leave the mansion. Kim imagined that once outside the propriety, the painter would run to his sister. In his eyes, he had faked obedience and respect in front of Yoon Seungho. (chapter 69) The valet had been projecting his own thoughts onto Baek Na-Kyum’s: (chapter 87) This means that the servant had indeed disobeyed the lord’s instructions. That’s the reason why the domestic asked Baek Na-Kyum to follow him in a different direction. (chapter 69) And now, you comprehend why the servant was mad and frustrated. During their stroll through town, the painter followed him blindly and absent-minded. Thus he never ran away. I couldn’t help myself laughing after this revelation. The painter was so lost in his memories that he never paid attention to his surroundings. (chapter 70) And if you reread episode 70, you will detect a time jump. It is because the domestic had realized that this walk was totally pointless. The artist had not left his side. They returned to the mansion, and note that in that scene the artist was carrying towels . (chapter 70) contrary to this last panel: (chapter 70) The manhwaphiles can now grasp why the domestic was so angry and slammed the door. (chapter 70) He had the impression, he had lost his precious time because of the artist. However, the man never recognized that the main person responsible for his “hard work” was the butler. Because of this scene in episode 70, people, including myself, were a little confused about the lord’s propriety. Where was the painter exactly? (chapter 70) The manhwalovers can comprehend why the domestic was lying here. He was hoping that the painter would run away. And now, it is time to return to the mansion and to the servants’ bathroom. From that building, I would like to show you the shrine.

5. The shrine ⛩

You are probably surprised that I could also locate the shrine, though it was only mentioned in the third season. (chapter 85) For that you need to take the stairs next to the servants’ washroom and walk through the gate: (chapter 19) That’s the building Jung In-Hun visited in episode 18, thus you had this view. (chapter 18) He was already standing on the stairs. In the background you can see the patio situated next to the artist’s study and on the right of the building the main gate. So the learned sir walked through the gate and reached this building: (chapter 18) The wall is separating the shrine from the servants’ quarters and kitchen. And what did Jung In-Hun find in this building? (chapter 18) The altar had been removed. This signifies that the scholar was the witness of the butler’s sacrilege. The latter showed no respect to the lord’s ancestors. Striking is that the learned sir acted the same way. (chapter 18) He showed no respect, because he was too focused on himself and his envy. (chapter 85) This means that the butler had been expecting Yoon Chang-Hyeon’s arrival, thus he had rearranged the altar so that no one would notice his disrespect. The smaller tables are put on the floor contrary to episode 18. However, if you contrast the two images, you will detect one divergence: the absence of the folding shield. Secondly, observe that the second black name plate has no incense. Therefore the elder master is only bowing in front of one plate name and not the other. (chapter 85) Besides, the second altar is not put in the center of the shrine. A sign that the second altar is neglected. Thus we need to question ourselves where the folding shield was before.

6. The painter’s study

It is situated in the building where the second patio is. (chapter 51) The study is situated, where you can see the two small windows. In the first season, there were two possibilities to access to his room. You could access to it through the door on the side which stands next to the lord’s bedchamber. This means that the lord has a view on the entrance to the smaller courtyard. However, one detail caught my attention. During the first season, the gate to the smaller courtyard was closed. (chapter 10) (chapter 12) (chapter 19) The other access was through this hallway. (chapter 19) This explicates why the lord dragged his friend by the topknot to the courtyard. (chapter 18) But wait…. In the second and third season, this is what you see: (chapter 67) (chapter 78) The gate had been closed, while the main lead asked to always keep the gate next to his bedchamber open. (chapter 68) That way he could keep an eye on the painter, in case he would run away. And now, you comprehend how Lee Jihwa could enter the painter’s room without getting detected. He used the same entrance than the learned sir. (chapter 19) Thanks to this new discovery, I can confirm my previous interpretation. Kim had encouraged the artist to run away in episode 12: (chapter 12) He had made sure to keep the gate closed. He envisioned that the artist would leave through the open door, but no… out of habit, Baek Na-Kyum used the door next to the bedchamber. (chapter 12) But when he faced the master, he got scared, thus he turned around and went back to the study. This explicates why the lord got the impression that Baek Na-Kyum had been caught trying to run away. (chapter 12) Naturally, here the artist wasn’t lying, when he said that he was taking a short walk. He had the intention to do so, but since he was back in the smaller courtyard, his words were not reflecting the truth. However, he had acted like that out of fear, and not because he desired to run away. And observe that the lord made sure that the door remained open! And note that in episode 13, Yoon Seungho didn’t return to Lee Jihwa’s side right away. During his absence the red-haired master had even time to meet the amateur spy. That’s how I realized why the lord vanished. He must have asked the valet to keep the gate between the bigger courtyard and the smaller one opened. It’s even possible that Yoon Seungho requested from the butler to take care of the painter’s wound. Knowing the butler, I am not trusting this statement, for he needed an excuse to approach the artist without getting suspected. However, if my theory about the lord’s order is correct, then this signifies that Kim disregarded his order, since in episode 19, it was closed again. (chapter 19) The painter, heartbroken, was sitting on the threshold of building. (chapter 19) As you can see, on the left there’s the patio juxtaposed to the artist’s study. This means, we have the servants’ bathroom on the left. And now, you comprehend why No-Name refused to kill the painter in the mansion. The only access to the study was through the gate situated next to the bedchamber. In other words, the moment Yoon Seungho closed this door (chapter 19), he protected the painter. Besides, I noticed something else. Yoon Seungho could move walls and create new rooms. (chapter 18) Note that above the characters’ head, there is a wall. This is even more visible in chapter 53: Under this new light, I came to realize the importance of the closed gate. This represented a disgrace, yet the moment the gate to the bigger courtyard was kept opened, this revealed the closeness between Baek Na-Kyum and Yoon Seungho. And since the painter’s fate is the same than the aristocrat’s, this means that the butler must have done the same in the past. The moment he closed the gate, Yoon Seungho was exposed to danger and his father couldn’t even notice it.

But the study is not the only room in the building. (chapter 18) As you can see, on the other side of the hallway, there is another room which has a yellow floor. (chapter 19) In episode 84, the painter was sitting next to this room. (chapter 84) This explicates why Yoon Seungho didn’t find his lover right away. (chapter 84) He was not sitting next to the study, but behind the room facing the study. Imagine that the building has a form of U. The study is located on the top of the U on the left, while he was sitting behind the bedchamber situated on the right of the bottom of the U. I hope, this description is understandable. This is important, because now you can locate the kitchen ( chapter 84). It is visible thanks to the jars. Besides, in the last panel you can detect the presence of a building on the right. It is the shrine.

7. The kitchen

You can see the kitchen in the following picture. (chapter 12) The kitchen is detectable thanks to the big wooden door in the smaller courtyard. However, I am quite certain that there’s a second access to the kitchen. (Chapter 46) They need to have an easy access to the jars situated in the backyard close to the walls. Moreover, observe that the backyard is elevated. (Chapter 46) This corresponds to the terrace covered with grass in the background. (chapter 12) This means that from the kitchen, if you follow the wall, you can pass by the lord’s bedchamber. And if you follow this path, you will discover the pond with the pavilion.

8. The pavilion and the library

As mentioned above, the terrace covered with grass leads to the pavilion. This means that the scholar walked along the wall. (chapter 10) (chapter 10) However, if you pay attention to the last image, you will detect the presence of a building. (chapter 10) Here, it is even more visible. This can not be the lord’s bedchamber, for the foundations are different. They are not in a huge basin. From my point of view, we are seeing here the library. This would explicate why the author created such a panel: (chapter 77) This is a view from the window, as the manhwaworms can see the rain falling. But it is totally dark. Why? It is because the drops are falling in the pond. Besides, let’s not forget that this building was also shown during the night of the forced sex. (chapter 25) This means that the pavilion and the library are located on the north-west side of the propriety behind the shed and not far away from the lord’s washroom. Nevertheless, this localization is not 100% sure. And since in Jihwa’s domain (chapter 3), there was an exit close to the pavilion, I assume that there must be one in the lord’s propriety. This explicates why the valet questioned him about the artist’s whereabouts. (chapter 25) He thought that Baek Na-Kyum must have run away. And now, you are wondering how this is relevant to our story. It is related to Jung In-Hun and his sleeping quarters.

9. Jung In-Hun’s bedroom

We know for sure that his room is close to an exit (chapter 27), for the bearded domestic appeared so suddenly. Another fact is that it is not far from a corner because of this panel: (chapter 50) Furthermore, I would like to point out the presence of the two trees. And now take a closer to this picture: (chapter 12) You can see the two trees. One stands next to the well which corresponds to the tree on the left and another stands behind, which corresponds to the tree on the right. (chapter 50) In other words, the learned sir’s room was placed on the other side of the smaller courtyard. This means that when the butler and the maid brought the lunch to the painter in the study, you could see the learned sir’s room in the background. (chapter 11) This also explicates why Jung In-Hun went through that hallway, when he left the painter behind. (chapter 19) He was returning to his bedchamber.

That’s how I realized two major points. First, the scholar was involved in the incident with the ruined painting. 😨 First, remember what the learned sir told to the painter: (chapter 10) But he was walking in direction to the study, while the pavilion is situated on the other way. He was turning his back on the pond, when he was standing in the courtyard. (chapter 10) Yes, it was similar to the artist’s white lie in episode 12. The latter had hoped to take a stroll, but once facing the lord, he had turned around. Here, we have the exact opposite. The scholar had actually finished his stroll. Besides, don’t forget that in that scene the gate next to the lord’s bedchamber was close. This means that the learned sir dragged the artist far away from the study. Is this a coincidence? I doubt it. Let’s not forget that the scholar was convinced that the lord was admiring him, thus he definitely judged the artist as a rival. Besides, since his bedroom was facing the study, he could have heard the noise from the room. (chapter 11) Besides, the doors were opened. This means that the scholar could have heard the noise. Moreover, the manhwaphiles should remember that he had requested from the artist a promise just before. (chapter 10) Finally, what did the maid state? (chapter 11) She was not lying, for he needed to cross the courtyard to go to the pavilion. However, her words implied something else. From my point of view, the scholar had been informed about the wrongdoing. Another possibility is that he had seen something. Anyway, he knew something was about to happen. Consequently he dragged the painter away and later he just needed to feign ignorance. He acted, as if he heard and saw nothing. In his mind, he would get rid of a rival. He counted on the painter’s selflessness and huge sense of loyalty. So the butler ordered the straw mat beating, but he never expected that the servants would perform it in front of the bedchamber. (chapter 13) He had overlooked one small detail: Yoon Seungho was no longer the young master, but lord Yoon. So the moment the lord was confronted with the sentence, he stopped the punishment right away. This means that Jung In-Hun heard definitely about the incident and did nothing afterwards. At the same time, thanks to this new insight, I could find the explanation for the butler’s late arrival in the learned sir’s bedchamber. (chapter 50) This time, Kim knew how the master would react, once he disclosed Deok-Jae’s insult and the conversation between Jung In-Hun and the painter. He expected him to rush to the learned sir’s room. During that time, he sentenced Deok-Jae to the straw mat beating. Since the lord was away from the bedchamber, the latter wouldn’t see the punishment. He arrived on delay on purpose to keep him there for a while. Yes, this was the negative reflection from episode 11/13.

To sum up, the new real discovery is that the scholar played a role in the incident with the ruined painting. But karma retaliated immediately. (chapter 18) He was confronted with the fact that Yoon Seungho treasured Baek Na-Kyum so much that he would humiliate a noble who would hurt his beloved artist. (chapter 18) He would even caress his cheek. (chapter 18) which could only fuel the scholar’s jealousy and envy. (chapter 19) He was forced to face reality: the lord had tricked and even used him. Finally, the readers should question this scene. Why was the scholar standing in the courtyard? (chapter 35) His room is situated on the opposite site of the courtyard. Moreover, it was the morning, so I doubt that he had gone to the library. From my point of view, the teacher had been manipulated by the butler whom he definitely trusted!! He had been encouraged to show to Yoon Seungho that the painter was only obeying him. In my eyes, the teacher wanted to remind the lord this: (chapter 30) If he desired to have the painter, he needed to treat Jung In-Hun better. Therefore you can grasp the noble’s comment: (chapter 35) He never realized that the painter and himself had been played. The main leads were treated both like puppets, but the scheme failed, for the artist was slowly realizing that the teacher’s concerns were quite superficial. He would no longer follow him blindly. Therefore he stayed in front of the gate. On the other hand, the scholar was unaware that Yoon Seungho could become violent, for the former had never seen the lord with his sword. (chapter 27)

And this leads me to the incident with the sword. Yoon Seungho didn’t know exactly where the learned sir was resting, thus he walked through the hallway and once in the smaller courtyard, he entered the building (chapter 11) from the side. That’s the reason why the learned sir heard these noises. Steps on the parquet and the closing of a door. (chapter 27) The jealous and angry noble was searching for the schlar. And now, you comprehend why Baek Na-Kyum got sick. He had to run almost naked through the courtyard (from the servants’ bathroom) and he had not even the time to dry his body. (chapter 27) With the localization, we can explain why the couple was standing at a corner, for the house is built like a square. But the domestic dragged the scholar away and brought him to the backyard. (chapter 27) This truly exposes Jung In-Hun’s naivety. He believed that he was cunning, but in truth he was not. He always put his life at risk, though he imagined that only the artist would suffer. Yet, he never recognized it. And because of these new discoveries, my theory that the learned sir is indeed dead got reinforced. Moreover, he showed no respect to the ancestors.

10. Conclusions

Why did I give myself so much trouble for this? It is because through this examination, we can more insight concerning the lord’s suffering. First, the closed gate between the study and the bigger courtyard indicates that the butler played a bigger role in the lord’s downfall. Since the young master Seungho lived in the study (chapter 77), I deduce that Yoon Seung-Won must have lived in the scholar’s bedroom. Therefore he could see and hear things. Moreover, if the door was closed, Yoon Chang-Hyeon had no view on the movements in the smaller courtyard. I am already imagining the worst. The butler could drag away the young master unnoticed. Or he could even put the wall on the one side (chapter 53), and close the door on the other side, and no one would detect the presence of an intruder, while saying that he had received orders from Yoon Chang-Hyeon. When the messenger was present, he had put down this wall, and opened the door on the other side, so that Yoon Seungho couldn‘t see the man‘s departure from the bedchamber. (Chapter 82) This explicates why the background is different from this one. (Chapter 78) The lord was standing on the other side of the building.

Note that Jihwa could enter the propriety without the owner’s knowledge in episode 10, but people in the courtyard could see it. When Byeonduck drew such a picture, (chapter 10) she revealed how the antagonist entered the study. He had used the other entrance (chapter 19) and avoided to walk in the big courtyard.

Striking is that when the childhood visited the mansion without the lord’s authorization a second time, the door was open. In addition, the head-maid and the butler were standing at the gate leading to the bigger courtyard. Why? (chapter 17) The answer is simple. The head-maid had chosen to inform her master. But Kim was standing in the way of the maid. He had stopped her from going to the main lead. And now, you comprehend why the valet chose to close the door later again. (chapter 19) (chapter 19) The valet expected that as a good host, Yoon Seungho would investigate the matter, and as a good “butler”, he would lead his master to the kitchen by using the other entrance. Thus the lord would see with his own eyes the painter sitting with the bottle. (chapter 19) He would catch him red-handed. But the lord believed to know already the truth, and showed understanding. (chapter 19) Therefore he protected the artist. As a conclusion, the readers need to pay attention not only to the location of the rooms, but also to the walls and the doors. The walls can be removed, as for the doors they can be closed or opened.

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: Sex or Love? ❤️ Version with only 10 pictures

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter 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:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/

In this essay, we will try to answer what the characters have been seeking during their intimacies. Did they want sex or love?

If we look at the first sex session, it becomes clear that Seungho was looking for sex, or more precisely speaking, for excitement and arousal. He wanted to see a new erotic painting so that he would get aroused from it again. That’s the reason why in the chapter 1 he asked to the painter while taking care of the noble:

Chapter 1

This truly reveals that sex as such didn’t create much pleasure in his sexual life. The paintings Baek Na-Kyum created were the only tools that could arouse him. On the other hand, Jihwa has always been longing for Seungho’s love, but used sex as an excuse to get closer to him. He even hoped that at some point his childhood friend would come to fall in love with him. In other words, for Seungho the sex session was more for sex, more precisely for sexual stimulus, while it was love that motivated Jihwa hence he made love to Seungho.

Yet at the pavilion, this situation somehow changed. Seungho showed arousal without any external  (chapter 3) stimulus, his phallus was still erected after Jihwa’s first climax. It looks like Seungho was attracted by Jihwa… so much that his appetite couldn’t be satiated. This gave Jihwa the impression that something had been triggered in Seungho. He was finally appealed to him, this gave him the illusion that his dream had come true. He mistook the excitement as a sign of “love” making him believe that he had now more privileges than the other sex partners. In his mind, the sex at the pavilion was love and even love for him, while in reality for Seungho it was just the discovery of real pleasure in sex. He had finally come to love sex with men. Since he kept seeing the painting in his mind, it was as if he was making love to himself. Hence I interpret that for the powerful noble the sex at the pavilion is a mixture of sex and love. He finally comes to love sex with men and to love himself as a seme. He feels his own attraction.

That’s why he says: “I can’t think of anything else”

  These words truly expose that he isn’t paying attention to Jihwa’s needs and doesn’t focus on giving him pleasure. It was all about his own ecstasy and sexual enjoyment. But since Jihwa is used to Seungho’s selfishness, he didn’t pay too much attention. He was just happy that Seungho had now become a real homosexual and even felt enticed by him. That’s why he acts as if he was a lover after the sex session at the pavilion. Now, imagine his disappointment. In chapter 5, Jihwa comes back only to discover that the attraction and excitement was so short-lived. He can’t focus on him because of the painter, hence he sends the noble away:

In any case, I am not in the mood today. You may leave”. (chapter 5) 

Then later, the young noble is reminded by Seungho that he was just looking for sex and nothing more, while we know for a fact that Jihwa has been longing for his love all this time.

chapter 13

Here, it becomes clear that Jihwa never really understood Seungho’s true motivations behind the sex parties. He really thought that the rich noble was just looking for sex as a diversion and entertainment, while there was another motivation behind all this: the revenge against the father. He never imagined that Seungho was not a homosexual for the start. He must have explained the issues with the arousal that Seungho had no deep feelings for the sex partners. However, deep down, the powerful master was longing for something else: genuine love.

Then we have the “wedding night” in the painter’s chamber (chapter 20-21). During that night, Baek Na-Kyum confessed his “love” for the learned sir. He was longing for his love because he had been rejected by the low noble before (chapter 19). The drunkenness allowed him to express his love based on an illusion and manipulation. That’s why we see him kissing Seungho so tenderly and even embracing him while caressing his back:  (chapter 20)

On the other side, the lord was rather looking for sex. He had been wanting to taste the young man and Jihwa’s words

Yoon Seungho has fallen into sodomy that he is now reaching for a low-born” (chapter 18)  

gave him another justification for this move. Since people kept saying that he was interested in the young man, why shouldn’t he do it for real? That’s why after the long kisses, when he noticed the sexual desires and ecstasy on the low-born’s face due to his blushing and moaning,

the lord suddenly pulled up this butt and removed the artist’s pants quite violently.

These simple gestures reveal his strong desire to have sex with the young man. He is so impatient, he is only focused on his own needs. He has finally the opportunity and is even able to create some arousal in the low-born. He is definitely looking for a good sexual experience with him. However, the long kisses mixed a certain tenderness before are demonstrating that Yoon Seungho was definitely feeling more than sexual desires. The foreplay did last quite some time which was unusual for him. He didn’t even realize the lack of inexperience in the commoner, although he should have sensed it with the innocent confession and kiss. But he is stopped by the commoner who finally concedes to be a virgin. Striking is that Baek Na-Kyum puts his hand on Yoon Seungho’s shoulder while crying,

he is even sitting on his lap. Both are facing each other, their bodies are so close touching each other. Strangely, the noble is not angry at all. He is a little annoyed that his “appetite” has not been fulfilled, yet he doesn’t get angry or violent.

This closeness and the hands on his chest have a calming effect in my opinion that’s why despite his comment showing a certain annoyance, he accepts the tears and the break. Furthermore, this marks the pivotal moment during their “wedding night”. For the first time, Seungho is forced to pay attention to his partner’s needs leading him to create pleasure. Because Baek Na-Kyum spoke about his fear and about being a virgin, Seungho has no other choice to be more careful. And from that moment, if you pay attention to their conversation, you’ll notice that Seungho keeps asking about the well-being of the low-born:

“Why are you so quiet?” / “If you do not tell me… I cannot help you

He makes sure that the other feels comfortable and even comforts him, when he feels pain after the first penetration. And notice that he is hugging the young man, while kissing him. His gaze has totally changed. While in the first part, you could sense pure lust in his eyes, now his gaze is much softer and oozing warmth. He makes sure that his partner takes pleasure and feels good during their encounter. This contrasts so much to the sex scene at the pavilion with Jihwa, where he ignored Jihwa totally and was only focused on himself and his urges. He even apologizes for taking the low-born’s virginity which was preserved for someone else. (chapter 21)

Here, he is smiling and his gaze is full of warmth. For the first time, he has experienced how to make love. He came for sex but found love. By giving ecstasy in his partner, it made him feel good. But this is not the end. Baek Na-Kyum hugs him, which Seungho likes very much. He is feeling warmth and tenderness. Yet, he has to hear the name of the loved one which bothers me. However, he decides to return the huge despite the “misunderstanding”, he wants to give the embrace Baek Na-Kyum is longing for. Therefore he puts him on his lap.

Simultaneously, he asks to be called differently, to let him know that he is not sir Jung In-Hun. He definitely hopes that Baek Na-Kyum will remember calling him “my lord”.

And he kisses the young man with such a gentleness. He is no longer looking for sex but love. That’s why when the low-born confesses that making love to him made him so happy, he can’t help himself to kiss the eye and the tears again.

This gesture shows tenderness and love. He has never heard before that he could make someone happy. He, who has felt so miserable for so long and only saw himself as someone repulsive and terrible, is finally able to evoke genuine happiness. The sincerity moves the lord so much. The tears, the hug, the words have reached his heart. And the climax of their wedding night is when Baek Na-Kyum admits that he likes him by whispering it into his ear, a very sensitive place.

Chapter 21

This gesture and the simple words have an impact on him. So far, he has never been confessed before. All his sex partners were just interested in his body and wealth, even Jihwa, who loves him, was too scared to confess his love for him out of fear that Seungho might reject him for good. For the first time, he felt loved and made someone happy. While he was looking for sex in the beginning, he found love in the end. All this time, he could never connect sex with love. But since he could pleasure the young man so well, he believes that once the man is sober and remembers, he will remember the ecstasy he felt thanks to him. That’s why Seungho believed that the commoner wouldn’t reject him, besides he is used to be sought out. He is well known for his good performance in bed. He thinks that the pleasure felt can move the young man’s heart so that he can switch his place with the teacher. His gestures contrast so much to the first part where he was brutal and rough… in the second part, he is gentle and sensitive. He listens to the low-born’s whispering and sees the tears. His behavior stands in opposition to his attitude at the pavilion with Jihwa where he was blind and deaf. He could only think of his own image from the painting.

Now, if we analyze the sex scene at the pavilion in the chapter 25, we come to realize that here Seungho was expecting to find love. He had imagined that the painter had remembered their night together as Baek Na-Kyum had mentioned that he was keeping something embarrassing in his belongings. Imagine his surprise, when he discovers that the painting was about the masturbation. For Seungho, their first night together was unforgettable hence he is annoyed that the artist has not remembered it. That’s why he tries to repeat the same gestures from that night. He kisses him  (chapter 25

and explains his actions hoping that this would trigger his memories and their love making would be renewed. But none of this happens because he is rejected by the uke. He never expected a violent rejection. He never imagined that pleasure and love are not the same thing. That’s why he decides to force himself onto the poor artist.  He really thinks that his performance will convince the young man to accept him as his partner. So he went to the pavilion in order to find love but it ended up in a violent sex session. Notice that unlike in the chapter 3, he pays attention to the low-born’s reaction. He wants to witness the sexual enjoyment but he only hears and sees pain. He hugs him trying to mimic the same gestures from that night . But he fails and for many reasons. First, he didn’t face the uke but took him from behind, just like he did with Jihwa. So this position doesn’t create intimacy, furthermore he believed that sexual performance was the reason why Baek Na-Kyum cried out of joy during their wedding night. He never thought that feelings play a much bigger part. Actually he has been in love with the low-born right from the start (a growing attraction was there) but since he has never felt anything before, he can’t technically recognize these feelings as love. The low-born went to the pavilion with no expectation and experienced raw sex with such a violence that he couldn’t love the noble. However, like I described it before, the wet dream from the chapter 2 reveals that Baek Na-Kyum desired Seungho so much. He wished that he had become Jihwa and even replaced him. As a conclusion, it started with love and became raw sex for the master, while it was just violent sex for the painter.

In the chapter 31 and 32, it is quite clear that this was all about sex. Seungho wanted him to accept his true sexual orientation, to witness his own sexual enjoyment by seeing his own facial expressions. At the same time, Seungho was still longing for love. That’s why he kisses the man right in the beginning. Sure, he wants to be the cause of his arousal, hence he ensures that he provokes an ejaculation.

Therefore he uses his hand and says this: “This time I will see you get hard for me.

 This is again brutal sex but unlike in the chapter 25, his goal is to give sexual enjoyment to the young man. He has to because if not, the artist would never been able to admit his homosexuality. Hence we can say that the master has learnt his lesson from the rape. He can’t force himself like that, yet he is still quite rough.

On the other hand, Baek Na-Kyum has to accept everything from the master. He can’t reject him as he had promised to do everything he wanted. So the sex with the lord is like a task, an order but at some point, he experiences pleasure in the sex. Furthermore, the noble hasn’t given up on his own sexual needs hence he is not satisfied with one session. This sex marathon is a mixture of love and sex… deep down, the noble is looking for love but he has no idea how to get it. If he is able to evoke ecstasy in the commoner through sex, then he thinks that he will be accepted by the young man. So his sexual performance which made him quite famous becomes his “hindrance” which he doesn’t realize. Besides, he is still quite selfish… it is only, when Baek Na-Kyum has collapsed that he realizes his mistake. And here, it ends with a gentle kiss announcing the change in Yoon Seungho. He can no longer be proud, act like a master. He has to lower himself therefore the kiss marks a pivotal moment in the noble’s life.  (Chapter 32) He has realized that his behavior has not been normal. He is confused hence he doesn’t get angry, when he is criticized by the doctor later. He knows that his emotions made him blind so that he somehow endangered the painter’s life. He must definitely feel guilty but he sees it as his duty to make sure that Baek Na-Kyum can recover.

During that time, he starts sleeping elsewhere. He visits his sex friends and even participates in sex orgies. Here, it is quite clear what the protagonist’s real intention was. He was looking for sex in order to understand what led him to act like a crazy person in the presence of the painter. What was he looking for? During the separation, he makes a huge discovery: sex is not his true motivation, he gets aware that he has been longing for the painter’s attention and affection. Besides, due to Min’s words, he gets aware that he wants Baek Na-Kyum for himself. He is “his”. He knows that now but he has no idea how the artist will react after his recovery. He could definitely blame him for his illness and the sex marathon. Little by little, the main lead is learning to differentiate sex and love. What I mean is that he has learnt that sex is a way to express love, making the partner feel sexual enjoyment and pleasure is making love. It is about to give and not just to take. That’s why from that moment, the seme is focusing on pleasuring the artist. He feels that he needs to wait so that Baek Na-Kyum will come to fall in love with him and will express the need to have sex with him. So he is definitely waiting for Baek Na-Kyum’s move.

But unfortunately, it doesn’t happen like he expected it. Instead of being a love confession like during the first night, the artist is crying. He is so sad and upset that at the end he asks to be hold.

Striking is that Baek Na-Kyum is asking for comfort and love because “being hold” indicates that he wants to be embraced. This is the proof that he is longing for love, yet his mind is very confused. What does he want? Sex or love? The gestures stand in opposition to the words.

On the other hand, the lord is well aware that Baek Na-Kyum can not have fallen in love with him just like that. He knows how deep his love for the low noble was. That’s why he is still hesitating. He doesn’t want to be a replacement, a surrogate like during their “wedding night”. He wants to make the things quite clear.

He will be his sex partner, his lover, the one who embraces him. He feels the huge difference from the love confession in the chapter 20, besides he sees the drawing with Jung In-Hun and he is so turned off. First, he feels the lack of passion and love in the kiss which can no longer be explained by the lack of experience. Besides he realizes that this is related to Jung In-Hun. That’s why he gets jealous and grabs him by the hair.

He is just like during the “wedding night” as his rough side emerges again but this time for a different reason. He is not looking for sex, he wants love but feel that Baek Na-Kyum isn’t giving what he wants. He acts more like a prostitute, someone who is forced to do something. He grabs the Seungho’s phallus without passion, he is just about to be penetrated without any preparation. This contrasts so much to their first night, where Seungho had to be patient and was listening to the uke’s words and moans. So in the noble’s eyes, the young man is looking for sex. Yet the words are reflecting something else which the lord doesn’t realize. All this leads him to think that Jung In-Hun asked him to sleep with him for a favor.

While the lord longed to hear that he was admired and pinned by the young man, he has to listen to a different confession:

That night I spent with you, my lord, that too… My lord, you… you scare me so much, my heart starts pounding…

He finally admits that he remembers their first night together and did it willingly but at the same time, he confesses how scared he is in front of Yoon Seungho. As you can observe, the parallels with their first night are so obvious. He holds the lord again begging him to embrace him, while in the chapter 20 he pleaded the lord to be more gentle. Back then he explained that he was scared because he was a virgin. The hug, the tears, the plead are repeated in the chapter 42 but they are triggered by something else: the huge pain caused by the teacher. The teacher is no longer admired, Baek Na-Kyum wants to be hold in order to overcome the rejection and abandonment. Notice the opposition, in their first night he was so pure, a virgin, and now he has become a prostitute. He has been so hurt that he can’t even say the word “prostitute”. He is accepting his homosexuality and is even accepting the lord as his partner because he has no one to turn to.

Striking is that the noble has a similar reaction than in the chapter 21. He is annoyed but no longer angry. At least, he has been able to obtain something. He is no longer rejected but you can feel his dissatisfaction. He would like to be loved and admired like Jung In-Hun, but this will do now for him.

Chapter 42

And notice that now they are facing each other, Seungho is no longer taking him from behind. This underlines Baek Na-Kyum’s acceptance and willingness. Furthermore, it outlines their closeness and intimacy. While having sex, Baek Na-Kyum can’t help himself taking the hand of the master and puts it on his stomach. “So it’s all the way in…”

Here again, there is a huge difference between the words and the gestures. He speaks like a “prostitute” or someone looking for sex, while with the hand, he shows gentleness and warmth. This time, Baek Na-Kyum is calling Seungho “my lord”. The noble has finally been able to take the teacher’s place for real. And what caught my attention here is that during the wet dream, Baek Na-Kyum wanted to switch places with Jihwa, while in reality the opposite happened. Seungho wanted to switch places with the teacher and become Baek Na-Kyum’s lover. Despite the raw sex which bothers the protagonist, Seungho can’t help longing for love that’s why at the end, he hugs him and kisses him.  (Chapter 42) Here, there is a mixture of tenderness and passion. He is attempting to evoke other feelings in the uke. He actually shows his love for the commoner. While during their first night, the artist cried out of happiness, here the tears are expressing immense sadness and pain. This is the reality: he had never been truly accepted by the low noble. He always saw his social background, a low-born raised at the brothel. He is admitting his sexual orientation which he is now connecting to prostitution. The painter doesn’t see the love in Seungho’s gestures, too immersed in his own suffering. In other words, the lord wanted love here but only got the opportunity to have sex, while deep down Baek Na-Kyum was longing for love but just asked for sex. However, Seungho attempted to shower him with love at the end but the painter didn’t see it, just like during their first night.

As a conclusion, in his mind the lord was seeking for sex and ended up finding love, while Baek Na-Kyum was longing for love and ended up having sex, unaware that his dream of being loved had come true, but he never expected that Seungho would be the one who would come to love him.

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 Light 💡in the Heart❤ (second version)

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter 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:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/ 

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  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.

I would like to thank Luzy 😉again for pushing me to ponder more about chapter 70 and its significance.

(chapter 70) When you look at the panel, you’ll observe that Baek Na-Kyum is represented by three white candles, while on the lord’s side there are just two white bougies. Since the color white symbolizes purity, this picture exposes that both protagonists are not just healing, but also getting less selfish and more open. Nonetheless, the noble’s purification is not complete yet. Here, I would like the manhwaphiles to keep in mind that since 3 is often associated with order, perfection, completion, reconciliation or fecundity due to the fusion of 1 and 2, it explicates why 3 is considered as magical and mystical. On the other hand, the number 2 symbolizes not only duality (light-darkness; ying-yang), but also balance and companionship. It is also related to kindness, and reflects a quiet power of judgment. At the same time, it indicates the need for planning and boundaries in order to keep the balance. And now, the readers can grasp why I view this panel as a confirmation that the master’s carthasis isn’t finished. In chapter 70, he has finally dropped his armor, this just means that he has finally abandoned father Yoon’s doctrines for good. But let’s not forget that Yoon Seungho’s life has not only be determined by father Yoon, but also by Kim, his surrogate father. Hence he is still under his influence.

1. The butler’s principles

But what are Kim’s rules?

  1. (chapter 23) Ignorance is a blessing for him, because it allows him to let his master to be in the dark. That’s why the master relied on the valet all this time. Kim was his eyes and ears, therefore certain rumors didn’t reach the noble’s ears. (chapter 18) On the other hand, the butler let him know about this gossip. (chapter 22) Since Yoon Seungho perceives himself as cultured, because he reads so much, he could only laugh about this rumor. However, he never realized the origin of these gossips. The valet utilized the rumors in order to deceive everyone, including the main lead. That’s why Kim could only judge “ignorance as a blessing”, because it helped him to manipulate the staff, the town folks and the nobles. He had an interest to create a bad image about Yoon Seungho. This helped him to keep the main character in isolation and in the dark. Moreover, it reinforced the lord’s dependency on his assistant. In order to corroborate my interpretation, I will use a panel reflecting the true nature of their relationship: (chapter 11) Observe that the valet is not portrayed with eyes. This is not just an indication of the butler’s lie. The valet’s eyes became the master’s. This signifies that the words and the vision of the valet became the noble’s reality. At the same time, the noble’s mouth is closed and his hands are not present either. Note, he is getting dressed by his own valet. As a conclusion, he is entirely relying on Kim. He has no mouth, no hand, no ear and no eye. Everything belongs to the butler. This single picture exposes the butler’s true powers. The lord was totally deprived of all his senses and his own body, a real puppet. And this interpretation leads me to the following question: Who killed the servant in chapter 1? In my eyes, the noble was just the executioner, while the butler was the judge. Why do I see it like that? First, note that in the scene, the main lead has no eye (chapter 1) and he doesn’t want to know about the painter’s reasons for not painting any longer. I know, some readers might reject this idea, but I would like them to remember that we see the butler acting like a judge in front of the doctor, that’s why the commoner begs the valet (“Are you trying to have me killed”). (chapter 65) He uses Yoon Seungho’s power, yet the latter is described as a killer. In chapter 1, Yoon Seungho was the epitome of ignorance (narrow-minded, blind and deaf) (chapter 1) and the butler didn’t need to be by his side, as he had a real control over the lord’s hands, eyes and ears. Now you understand why Kim really treasures ignorance. Simultaneously, the valet values knowledge, as it procures him power.
  2. Don’t take it to heart (chapter 50) This idiom doesn’t only imply to ignore your feelings, but also to deny the existence of your heart. If the noble has no emotions, then he can be the perfect puppet. This explicates why Yoon Seungho had a relapse after this conversation. Despite his warning, the master did listen to the butler’s advice.
  3. Act, as if nothing happened (chapter 65) That’s why there is no sincere apology. (chapter 65)
  4. It’s none of my business” (chapter 65). He prioritizes his own life. He is not interested in people’s passion and well-being. He doesn’t care about people’s motivations. The latter just become relevant, the moment they affect his life. He needs to know about people’s behavior and thoughts for his manipulations in order to protect his quiet life.
  5. He hates trouble and scandal,(chapter 65) therefore any incident must be covered up. At the same time, it implies as well that everything must be done in the shadow. That’s why without any spectator, he removes the snowman embodying the painter. The final panel contain all the butler’s doctrines. He will erase everything related to the past, acting as if nothing happened. It doesn’t matter, if someone gets destroyed in the end, because on the surface, it will look like he just cleared a way. He gives the impression that he helped the persons concerned, not taking into consideration how his actions and decisions will affect others. If someone has to pay the price for this, then so be it, as long as it doesn’t disturb his life. From my point of view, this scene is full of symbolism. From my perspective, he is ruthless and even willing to dirty his hand to a certain extent, since he is using a broom. However, this gesture exposes too that he is not directly soiling his hands. This is the reason why he is never directly involved with people’s wrongdoings. He will just push others to commit wrongdoings with remarks. They have to act according to his own thoughts and benefit. This interpretation is not exaggerated, if you compare this scene with Deok-Jae’s misdeed in chapter 46. The vicious servant used his own feet to ruin the artist’s creation or he pushed the painter with his own shoulder. (chapter 46) At the same time, with this new approach, it helps to understand why the butler’s evilness was never caught. He could always feign ignorance with such a behavior and was never directly involved.
  6. And this leads to the following observation. Kim’s final rule is to utilize others in order to achieve his goal. The butler allowed Jihwa to torment the painter three times (10, 17, 59). He also allowed the vicious servant Deok-Jae to betray Yoon Seungho and plan a murder (chapter 51). He hoped that Heena noona would take the painter away (chapter 68) and he is now expecting that Min organizes a second abduction while framing others: Nameless, Heena noona and Jihwa.

After exposing the butler’s doctrines, I would like to describe the impact of these rules over Yoon Seungho’s life, and they slowly disappeared or diminished.

2. Yoon Seungho’s life under these rules

  1. First, the rule “don’t take it to heart” was completely abandoned in chapter 58, because he was confessing his love to the painter properly: (chapter 62) Here, the noble stated that he adored the painter). This means that the light and warmth had finally reached the lord’s heart, which is also mirrored by the light in the panel. But the problem is that after the low-born’s disappearance, the master had the impression, he had been betrayed and abandoned. Hence he became enraged and blinded by his own wound. This is a sign that he definitely took it to heart. Moreover, we shouldn’t forget that despite the incident at the barn, the noble was not even able to stick to the rule, treating the artist like a sex toy. In the end, Yoon Seungho brought him to his own bed, indicating that he considered him as his partner. To sum up, the noble was still not honest to himself exposing the valet’s influence.
  2. The longer the painter remained by his side, the more the main lead caused trouble and scandal (rule 4). First, it started with the nobles’ humiliation in chapter 8 and 18.. Then another scandal appeared, when the lord punished the staff for not following his order (chapter 30). As you can see, the uproar remained within the mansion in season 1. This is the reason why the noble retreated in chapter 30, when he was pressured by the other aristocrats. (chapter 33) Here, he was definitely avoiding any scandal. He was running away, although he tried to deceive the nobles by declaring that the painter would belong to him. And during the second season, the readers can observe a progression, the scandal and uproar is now reaching the town (chapter 64) . Thereby the climax was reached in chapter 67, when Yoon Seungho visited the Lees’ mansion. For the first time, he was confronting a noble and didn’t fear to cause a scandal, when he showed up with a sword and didn’t even remove his shoes. (chapter 67)
  3. As for the principle “act, as if nothing happened“, the manhwaphiles can detect that it is still present in the lord’s life, because he still doesn’t judge his action in the barn as a wrongdoing. (chapter 70) And this confession could be used against the lord later, hence after that night, Yoon Seungho kept his distance from his lover. Thus he said this to his lover in chapter 75 and later asked if the painter was truly resisting. Slowly, he had internalized that consent was central: (chapter 79) But this doesn’t signify that this doctrine had completely vanished. For me, it has been gradually weakened, the moment the lord started feeling remorse. The problem is that he still relied on the butler to correct his wrongdoings. That’s why he sent the valet to the artist in chapter 12 or left the artist behind in chapter 33. He ran away from his responsibility (chapter 33) and let Kim take the burden. Yet the more time passed on, the more the noble took his responsibility. He protected him from the maids and decided to buy him better clothes. This is no coincidence that in chapter 40, he implied to the painter that the latter could now rely on him. This progression is visible, when he took care of the painter in chapter 55. He covered him (chapter 55) and watched over him during the night. But this principle will be truly abandoned, the moment the lord apologizes properly, and this expectation was proven correct, as the real apology took place in season 3. (chapter 102) Nevertheless, for me, he truly changed a lot from episode 70, because there he expressed regrets for the first time in front of the painter. Notice that in episode 71, we had a semi-apology, for he was admitting his mistakes: (chapter 71) The problem is that in the bathroom, he chose the wrong words. Hence the painter could only misunderstand him and pushed his hand away. While the manhwaphiles could witness his huge pangs of conscience, the painter never did. He was either unconscious (chapter 32) or asleep (chapter 50) or blind or deaf(chapter 49). And little by little, the lord learned how to apologize to his lover. In season 3, he admitted his wrongdoing right away. (chapter 82) Then later he tried to redeem himself. (chapter 84) Note that here, he was doing everything himself. He was no longer relying on Kim. Hence in the first version, I had voiced that the lord would apologize to Baek Na-Kyum, after the second abduction had been solved. And this expectation became a reality. The lord felt definitely huge pangs of conscience. (chapter 102) He knew that Baek Na-Kyum had been targeted. Yet he thought that by just warning his childhood friend, the problem was solved. He didn’t desire to cause too much trouble. However, I believe that after this crime, the noble will realize that he needs to take matters into his own hands. He can no longer live like that, he needs to become more reliable and not to fear scandal. We have another clue for this theory, the painter’s question: (chapter 102) He is tasked to investigate how this tragedy could take place. Why did they get separated for so long.
  4. Ignorance is a blessing
  5. with to utilize others in order to achieve his goal: Yoon Seungho praised Kim in that scene (chapter 23), because he liked keeping people in the dark as well. We had a perfect example with the deal between Jung In-Hun, the painter and the protagonist. First, Yoon Seungho gave the scholar the impression that the former was just an uncultured fool, whereas in truth the low noble was the one deceived, because Yoon Seungho was giving him just an empty promise. At the same time, the rich noble lied to the painter, when he claimed that Jung In-Hun had come to see him. (chapter 7) However, it backfired on Yoon Seungho the moment the latter saw the painter’s reactions. He would run to his former teacher immediately, leaving the main character behind. Then he smiled to Jung In-Hun (chapter 7) and blushed in his presence. That’s the moment Yoon Seungho’s heart was moved, justifying the words in chapter 63: (chapter 63) No one has ever questioned how the master could treasure the artist’s smile so much? One might say that the first smile occurred in chapter 40 (chapter 40), but as you know, each event happens twice during the same season. So the lord experienced it much earlier. That’s why I believe that the first smile in chapter 7 played a huge role. The incident marked the return of the aristocrat’s jealousy, which had been buried for a long time. That’s why Yoon Seungho decided to reveal his plan. He hoped that with this new approach, Baek Na-Kyum would perceive him as a benevolent lord and look at him differently. He hoped that Baek Na-Kyum would smile for him. This explicates why the lord underlined the importance of connections and wealth. (chapter 7) Note that at the end of the chapter, he treated the painter as a real guest. He invited him to his bedchamber officially. (chapter 8) And observe that the noble was here smiling, he was already imitating the artist. This explicated too why not only his moves in this chapter were contradicting each other, but also Kim was introduced here for the first time. And note that from that moment, the lord never tried to trick the painter afterwards. Like I have already pointed out, the incident at the pavilion was definitely organized by the butler. And with this example, the manhwaphiles can see that the lord was applying the 6th rule as well, but dropped it due to the low-born’s reaction. This is not surprising why this manipulation ended up causing more and more pain. Yoon Seungho had brought him upon himself, revealing how the first doctrine “ignorance is not a blessing“. With this new observation, I perceive the episode 7 as a first major turning point. The lord was dropping the 6th rule (to utilize others in order to achieve his goal). However, this doesn’t mean that he abandoned the first doctrine. Quite the opposite… it took him a long time to realize why he couldn’t achieve his goal. In my opinion, the master started changing in chapter 67. Contrary to chapter 33, Yoon Seungho couldn’t bear to hear how people would talk behind his back: a sodomizer and a beast who corrupted Lee Jihwa and others. (chapter 67). Note that for the first time, the lord decided to defend himself, correct people’s perception about him, which he never did before (chapter 18, 22, 57). This coincides the return of the lord’s hearing and speech abilities. In chapter 67, he is using his own ears and mouth, he is no longer relying on the butler’s help. What the lord imagined to perceive as help was just an illusion. However, I believe that the lord decided to drop the first principle in chapter 68, when he heard the conversation between Baek Na-Kyum and Heena noona. Observe that he is listening behind the door, as if he was spying, which I perceive as another evidence for Kim’s spying activities. Nevertheless, this was never the main lead’s intention, hence he left quietly. Yet the painter’s words did push the lord to abandon the butler’s first principle. But what did he hear exactly? Here, I have to admit that I can’t be 100% sure, but I think that he heard the painter’s confession, because in chapter 70, Yoon Seungho asked the painter, if the latter was afraid of him (chapter 70). And note that when the painter confessed, he externalized his fear. (chapter 68) But what caught my attention is that when we see the lord’s feet in front of the door, we have to keep in mind, Yoon Seungho was not able to see the painter’s tears. He could only hear his words. Consequently he was relying on his own ears. However, this doesn’t signify that Yoon Seungho is blind. In my opinion, in this precise moment Yoon Seungho was able to envision Baek Na-Kyum’s tears, because he was forced to use his mind’s eye. Then with this new perspective, we have a new version of chapter 3. However, the huge difference is that Yoon Seungho’s mind’s eye is no longer focused on himself, but on the painter. This explicates, why the master decided to retrieve and to give him space. Without seeing his face, he could sense that there was affection, because the painter was crying. The readers should recall that the painter’s tears have always had a huge impact on the noble, because they healed his eyes, hand and heart. The manhwaworms can comprehend why the lord chose to let the painter determine his own fate. The presence of tears and the painter’s voice were able to remove the lord’s veil on his eyes and ears for good. I would like to remind the manhwaphiles that in chapter 68, Kim tried to destroy the lord’s own judgement by recurring to gaslighting and distorting the past. [For more explications, read this essay: https://bebebisous33analyses.wordpress.com/2021/01/30/painter-of-the-night-heroes/ ] In other words, the discussion in chapter 68 represented the most important battle between the master and his domestic, where the latter wanted the main lead to lose his sight and hearing for a second time. However, the butler failed. The irony is that people perceived the argument as the butler’s victory, while in truth it should be judged as the valet’s loss of power. What Kim didn’t expect is that with his manipulations, he encouraged the main lead to rush to the painter’s study. The butler never expected that the lord would stop right in front of the door and listen to the conversation. For me, this marked the return of the lord’s senses. This is the reason why the lord is able to hear the door opening and the commoners leaving the study, (chapter 69) although he is sitting in his bedchamber. Imagine, he is no longer relying on the butler’s information contrary to chapter 56: (chapter 56) With this new approach, the readers can understand why the aristocrat can make such a comment in chapter 70: . Therefore I deduce that the butler can no longer control the lord’s body, since he is no longer required to be his eyes, ears and hands. However, this doesn’t mean that Kim is truly defeated. He still controls the staff, especially the male domestics. Here, I would like to make a little disgression. In my opinion, the butler played a huge role in the first abduction. How come that the servants were so sure that the painter had run away? (chapter 61) They were not present, since both protagonists were at the physician’s. From my point of view, Kim must have manipulated the servants… he just needed to imply that Baek Na-Kyum had escaped, while in front of Yoon Seungho, he would say the opposite later due to the commoner’s return: (chapter 62) There’s no doubt that with the painter’s appearance, he could use the incident to obtain more support from the servants. The painter had caused trouble again, he was responsible for their misery. But since he truly exposed his true nature to the main lead (abusing his authority, criticizing and judging his master), he can no longer appear in front of him. Right now, he has to lie low, hence he needs other people to be his eyes and ears. This explains why the servant is portrayed without eyes either (chapter 70). The absence of the eyes is an indication that they belong to Kim, just like the lantern indicates that the domestic is acting on the valet’s order. And in season 3, we can observe a similar situation. This time, they faked obedience (chapter 99), while they badmouthed their master. (chapter 98) Because the lord feared to lose his lover, he didn’t pay attention to the domestic’s insult: (chapter 98) But the insult was the proof that they never treated the painter as a part of the household. He was just a spoiled brat.
  6. And since the noble is now using his own body and all his own senses, it becomes clear why the lord is gradually becoming less selfish. He needed to be selfish in the past in order not to become completely alienated. This signifies that he would have lost his own identity. This explicates why his selfishness is slowly vanishing, indicating that the noble is on the verge of dropping rule 4 (“This is not my business“) which embodies selfishness. On the other hand, his selfishness can not completely be eliminated, as long as the butler is by his side. Why? It is because the valet is trying to justify his actions by acting selfless. He lulls the lord in the illusion, he will do anything for Yoon Seungho, and the new scene in the bathroom is the perfect example. Observe that the lord is determined to treat the painter more like a guest, hence he asks his servant to follow the painter to the door. From my point of view, it was not, because he wanted the domestic to keep an eye on the painter, but because he wanted to treat the artist with great respect. Yet, note that the moment the kisaeng leaves her brother and the door closes, the servant’s behavior and tone change drastically. He pressures Baek Na-Kyum and gives orders. He is truly rude. We could say that he treats the low-born like a servant, as though he wanted him to feel so little. Kim’s strategy was to remind the painter of his position: he is just a servant, a new version of chapter 52. Remember that Kim’s intention from the start of the second season was always to diminish the artist’s status: he is just a temporally favored servant, nothing more. Striking is that the domestic never says that the lord gave him the order to bring the painter. He uses here a passive sentence “you are to attend to him” which is important. That way, the servant can hide the identity of the person who requested this. And since the lord was looking at the intruder in a rather cold way, I believe that he didn’t expect Baek Na-Kyum. However, when the door was closed loudly, the lord must have realized that this must have been Kim’s action. The lord didn’t mind, for it looked like the butler was helping him to improve his relationship with the painter. This interpretation was also confirmed in season 3. Yoon Seungho showed no desire to investigate the matter of “Jung In-Hun” or Deok-Jae’s death, for he was too much focusing on his lover. He kept saying that this was not of his concern. (chapter 98) However, he was totally wrong here. That’s the reason why the abduction could even take place. Because of the last incident, the main lead is forced to recognize that he needs to investigate the matter, as everything or everyone can affect his life. This is important, because that’s the only way for Yoon Seungho to recognize the butler’s wrongdoings. He encouraged him not to pay attention on others so that he wouldn’t detect his wrongdoings. Thanks this rule, Kim could live freely.

All this leads me to the final observation: since the butler is relying on others, this signifies that these persons become his eyes, ears, mouth and hands. Therefore he becomes dependent on them. This indicates that the valet has switched his position with the noble. And this is relevant, because this announces Kim’s future demise. He will experience himself, how ignorance can’t be a blessing. In chapter 69, they heard from the kisaeng that the painter could write, hence he will take this info as face-value. I am assuming now that he knows that the painter can not read Chinese and will come to the conclusion that he can read Hangeul like any commoner. However, while in the past, I used to think that Kim had asked the domestic can only listen to their exchange, I realized that I was wrong. It was still Kim behind the window. (chapter 70) But he is deprived of his sight. And now, if you look at the conversation in the bathroom, we have to question what information the spy gathers:

“You refuse to watch” and “Don’t push me away”

This means that the servant will have the impression that the artist is still resisting the lord, especially after hearing that the low-born corrected the lord. However, the spy can’t see what is happening in the room. He can’t observe how the painter is letting the lord caressing his face (chapter 70), kissing him tenderly . That’s why Kim will have the impression that the painter is still not accepting the lord. This explicates why after that night, they were separated. The butler imagined that if they had no longer sex, the artist would feel neglected and believe that the lord had already a change of heart. He hoped that after such a separation, the painter would leave the mansion, exactly like the lord had been encouraged to have a relapse in chapter 50. In my eyes, Kim was slowly viewing the artist as a man consumed by lust. How could he still accept to have sex with Yoon Seungho after the latter had treated him like a sex toy in the shed? The butler couldn’t grasp the protagonists’ thirst for love and warmth.

From my perspective, Kim had already realized the urgency of the situation at the end of season 2. He was on the verge to lose his position. The painter was getting more and more power, while the reality is that Yoon Seungho was slowly regaining his freedom, because he was just owning his own body. This explicates why he is now delicate and treats the painter’s hand as a treasure. (chapter 70) Under this new light, it becomes understandable why Kim decided to betray his master and rekindle with Yoon Chang-Hyeon. The punishment was the signal for the valet to switch the alliance.

Therefore as long as the butler remains by the noble’s side, the transformation is not completed. That’s why we still have no proper apology and the lord is not determined to get justice for the artist. Yet, the light has already entered the master’s heart, irradiating his whole body. Consequently, the main lead could finally drop his armor: it melted away. To conclude, the final transformation took place in the mountain which was symbolized by the lord’s tears. (chapter 102) From that moment on, the light had now reached the mind. He could drop his self-loathing finally which was the foundation of Kim’s principle. It was okay to cry. These were tears of happiness and relief… He had been able to rescue his lover. This means that Yoon Seungho did everything what the butler rejects: the embrace as a way to console and apologize and the tears as a sign of regret and happiness. But why does the valet abhor them? It is because he could never admit his own mistakes and as such he could never beg for forgiveness. (doctor Frost, chapter 211) 8chapter 50) Since he has been denying the existence of his heart, there can be no light in the heart. (chapter 50) Here, the butler never cried, he just showed pity and sympathy towards Baek Na-Kyum, however he was not speaking from the heart.

And now, I would like to close this analysis with three quotes from the book called “The Light in the Heart written by Roy T. Bennet which inspired me to write this essay, because it illustrates the lord’s metamorphosis:

Attitude is a choice. Happiness is a choice (chapter 63/70). Optimism is a choice (chapter 68/69: the lord recognized that he still had some chance, though he was very scared). Kindness is a choice. Giving is a choice. Respect is a choice (chapter 69). Whatever choice you make makes you. Choose wisely.

Don’t Just

Don’t just learn, experience.
Don’t just read, absorb.
Don’t just change, transform.
Don’t just relate, advocate.
Don’t just promise, prove.
Don’t just criticize, encourage.
Don’t just think, ponder.
Don’t just take, give.
Don’t just see, feel.
Don’t just dream, do.
Don’t just hear, listen.
Don’t just talk, act.
Don’t just tell, show.
Don’t just exist, live.”

With this quote, the readers grasp better why the lord was just existing like a ghost in the past before meeting Baek Na-Kyum. He was only a puppet, while he was lulled in the illusion, he was a free spirit haunting an armor. This explicates why he couldn’t feel remorse in the past, why he could neither hear, nor see, nor talk nor dream nor give etc. And since he has promised that he won’t frighten Baek Na-Kyum (chapter 70), he needs to prove it. He will never hurt anyone close to the painter, hence he spared the kisaengs. I have to admit that I have been thinking about the next step: asking the painter to brush his hair. This would announce the butler’s complete loss of power. At the same time, it would signify that the lord is showing that he trusts Baek Na-Kyum and is using his hair to woo the painter. And this could definitely correspond to the master’s attitude: his will to open up. Simultaneously, he could express the following wish: he would like to comb his lover’s hair himself encouraging him to have a topknot.

And now, I would like to close this essay with the following quote from Bennet

We are all different. Don’t judge, understand instead.

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: Desires and communication 📲 (second version)

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter 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:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  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.

1. The significance of communication

In the essay “Respect and love” I demonstrate that both protagonists aren’t honest to themselves, exposing their lack of self-respect. This is one of the reasons why they keep disregarding each other. While they are hurting each other, they force each other to question their own action and words simultaneously. Hence the readers are witnessing their transformation. Little by little, the protagonists mature and turn into adults. They become more responsible. Their growth coincides with the development of attachment and the realization of their affection. At the same time, this evolution is strongly intertwined with the painter’s sexuality. The latter is making his first sexual experiences, which leads him to slowly accept his homosexuality. Yet he still fears his own strong libido and as such his love for the noble. Therefore till chapter 68, the artist is still dishonest with himself. As the manhwaphiles can see, the painter’s honesty is linked to respect and love. Striking is that both values are dependent on communication.

  1. “Love without communication is impossible”. from Mortimer Adler
  2. “Much unhappiness has come into the world because of bewilderment and things left unsaid.” from Fyodor Dostoevsky

2. Communication and relationship

With these quotes, it becomes obvious that communication represents the foundation of a good relationship, where there exist respect, love and trust. Silence or lies stand in opposition to communication, because they create a false perception or an illusion. Since manipulators employ lies by commission or omission, the latter can be judged as weapons. Moreover, unsaid things and deceptions display a lack of trust. That’s why the relationship between the noble and the low-born can only stabilize, the moment they talk to each other properly. Once Yoon Seungho and Baek Na-Kyum reveal their true thoughts and emotions to each other, they not only show trust, but also can discover the true personality of their lover. However, if you pay attention to the evolution of the story, you’ll observe two details:

  1. Yoon Seungho is the one who keeps talking, revealing his desire to exchange thoughts with the painter. This explicates why the lord was so hurt in chapter 49. He wanted to communicate (“share what’s on our mind”) with the low-born, but the latter refused, because he just considered the noble as a sex toy to procure him pleasure out of fear to get hurt and deceived again.
  2. The painter is only opening up once confronted with sex and his own sexual desires.

3. Words, sex and its impact on relationship

Now, I would like to elaborate more these observations, hence I will start with the first chapter as illustration. The manhwaphiles should remember that at the tavern, Yoon Seungho was very talkative. (Chapter 1) He expressed his genuine admiration for Baek Na-Kyum’s talent and creations. Yet, at no moment the painter noticed the compliments. He had been forced to touch the loins, which shocked him, and then he remembered the lord’s bad notoriety. Therefore all the lord’s good words fell on deaf ears. The painter was more concerned with appearances and rumors than anything else. That’s why the conversation failed. Since Baek Na-Kyum was not interested in the main lead’s feelings, he feigned ignorance first, and lied at the end. Striking is that their first conversation was connected to books and sex, therefore this already limited their exchange. Moreover, this first chapter clearly reveals the lord’s interest in the low-born. He not only sent a domestic for the investigation about the mysterious creator, but also asked about his recent whereabouts. And curiosity usually initiates a conversation. But there’s more to it. From my perspective, the main lead felt no longer satisfied with the erotic pictures. He wanted to share his emotions and thoughts, when he looked at them. However, he had no one to talk to, so in his mind, if he met the artist, he could come into a conversation with the creator. That’s why he wanted to invite him in the end. The painting of sex sessions would give him the perfect occasion to discuss with someone.

And observe, when the first session starts, he can’t help himself talking to the artist, while Jihwa remains silent, as he doesn’t pay attention to him. If you read the story again, you’ll sense the master’s strong desire to communicate. When the painter arrives in the bedchamber in chapter 8, the lord welcomes him warmly with a huge smile and speech. (Chapter 8) Observe the contrast. The main lead doesn’t reveal his anger towards the noble with the mole, it is not worthy for Yoon Seungho of giving him an explanation for the humiliation. He just smiles (Chapter 8) before grabbing him by the topknot. His words and behavior truly display a huge respect and a desire to exchange thoughts and observation.

Moreover, when the master is not talking during the sex sessions, then he is in a locked gaze with the artist. (Chapter 8) This mirrors the noble’s need to talk and now, you understand why the main lead had to evict the aristocrat with the mole in the end. By requesting to send away the commoner, (Chapter 8) he was more or less asking from the host to remain silent. (Chapter 8) The latter just had to focus on the guest’s sexual desires which confirms my interpretation that the main lead is treated like a head-kisaeng. Since the noble showed him no respect, then the main character didn’t need to respect him either. But more importantly, the protagonist made sure that he would be treated the same way. He also wouldn’t listen to his words, because the noble with the mole didn’t want to hear him speaking either. Therefore the door is closed, before the man can protest. As a conclusion, the aristocrats only visited him for sex or other pleasures and nothing more, while the noble had to remain quiet. Hence we have a silent main lead in his relapse: (chapter 52) However, even here the manhwaphiles can notice the transformation. The guests are no longer here for sex, just for smoking opium and drink wine. That way, the noble doesn’t feel lonely.

And Jihwa was not different from the others. Like Yoon Seungho described it to father Lee, (chapter 67) the childhood friend would only visit him during the night (“used to”). However, it changed the moment the main lead paid a visit to the red-haired noble early in the morning (chapter 3). After that, Jihwa realized that he could also go to his friend during the day (chapter 5 and 12 ). And now, you comprehend why the lord questioned his presence in the morning and why he assumed that his visit was related to sex in the end. It looks like Jihwa never showed an interest in the lord’s thoughts and emotions too. And there exist two reasons for that. First, he had the impression he knew everything about his lover. (Chapter 57) Secondly, there was a risk that the main character could talk about the past and as such mention Jihwa’s betrayal. The lord’s emotions (sadness, anger, pain) represented a huge burden to the red-haired master. (Chapter 59)

This illustrates that the lord was never allowed to express his thoughts and emotions, until the artist arrived at the property. And now the readers can comprehend why Yoon Seungho said this in chapter 18: (chapter 18) Thanks to the artist’s presence, Yoon Seungho had been able to talk and people would actually pay attention to his presence and words. They started listening to his words. Imagine, one word and the straw mat beating was stopped: (Chapter 13) No wonder, why he thanked the painter in chapter 18. He could only be happy, when he confronted his childhood friend, as there was a real exchange for the first time. (Chapter 13) Argument is also a form of communication, and it happens between people in a relationship. Not only his words were finally noticed, but also he was able to draw lines to Jihwa. By influencing the host with the hope, Yoon Seungho would send away the painter, the childhood friend didn’t recognize that he was attempting to turn the protagonist into a puppet, therefore he could only fail. Moreover, Jihwa had no idea that Yoon Seungho’s true desire was to get close to someone, to engage a honest conversation. Therefore the main lead could only reject the friend’s words and proposition. As a conclusion, with the painter’s arrival, the lord’s words were little by little listened, he was able to communicate more with others: Jihwa, the nobles and the staff. After scolding the maids in the kitchen (chapter 38), the head-maid started showing her respect to her lord. But more importantly, he gave her the order personally to bring the painter’s lunch to his study. (Chapter 46) He could finally voice his thoughts, everything happened thanks to the painter. This explicates why Yoon Seungho kept seeking the artist’s proximity, although the latter kept rejecting him (his escape, his lies, his refusal to paint for him etc…). He had realized that his living conditions had improved despite the struggling with the low-born.

His strong desire to communicate exposes that he had no companion by his side. In my opinion, Yoon Seungho justified his existence as a free spirit in order to hide his loneliness and emptiness. It was his explication why the nobles and Jihwa wouldn’t listen to him and disrespect him. Yet, the real cause for this situation was his traumatic past, where he had been forced to silence. Moreover this explains why he never paid attention to intruders in the end. He didn’t have the impression, he would truly live in that mansion. Besides, because people were supposed to visit him during the night for sex, then he was never expecting visitors during the day. Hence he spent his days smoking in front of the window. (Chapter 5) This outlines the main lead’s isolation and loneliness. Simultaneously, with this new approach, the readers grasp why Yoon Seungho couldn’t anticipate to become Min’s target in the end. He noticed Black Heart’s envious gaze , (chapter 8) but he didn’t envision what jealousy and greed would provoke. In my eyes, he couldn‘t identify these emotions properly.

The problem is that Baek Na-Kyum refused to converse with the lord. In chapter 4, the artist didn’t allow the main lead to express his opinion about the plagiarized poem. (Chapter 4) He was not worthy to comment this poetry, as he was just a man consumed by lust. However, the commoner never asked why the noble would judge the poem so poorly. He already assumed that he was just making fun in order to humiliate the scholar, while in reality the noble wanted to reveal the author’s true personality: Jung In-Hun was just a deceiver. And since he had been hurt by the painter’s comment, he retaliated too: since he was just a commoner, he had no right to criticize the lord.

And now, it is time to focus on the second aspect: Yoon Seungho and Baek Na-Kyum only started communicating properly through sex. The reason is simple: the painter was only honest, when his unconscious revealed his true desires. Right from the start, the artist was sexually attracted by the lord, but he kept denying it. However, the aristocrat did notice the painter’s genuineness in the sex sessions, which could only reinforce his strong attraction towards the low-born. He loved his art, and now he saw that someone was truly perceiving him. (Chapter 2) Baek Na-Kyum was the first who made the main lead realize the existence of his body. For the first time, he felt attraction through the gaze and saw something beautiful in himself. And what was the lord‘s immediate reaction? He started talking about his thoughts, though this was more a monologue than a discussion. (Chapter 3) (chapter 3) Exactly like the painter, Yoon Seungho began talking while having sex. He even formulated his first desire in front of his childhood friend: (chapter 3) And now, you comprehend why his relationship with Lee Jihwa was doomed to fail. The red-haired master was more focused on sex and his own sexual emancipation than his lover‘s well-being. (Chapter 3) He never asked him why he was behaving so differently. He didn‘t notice that the lord was more communicative.

4. The first real conversation

But let’s return our attention to the main couple. The real conversation between Yoon Seungho and Baek Na-Kyum only starts in chapter 16. Nonetheless, the only one talking is Yoon Seungho. He keeps asking questions about Baek Na-Kyum’s sexuality, waiting an answer from the artist:

1.

2.

3.

4.

Here I only selected a few inquiries from the main lead, however what caught my attention is that with his behavior, the noble was putting the artist under pressure. The latter remained silent, but the beholder detect how these questions affect the artist. They actually excite him in reality. Why? It is because the lord’s words incite the painter’s imagination. Note that in the second panel above, he is describing the sex session. And the painter gets really excited, when the noble says this: (chapter 16) On the surface, it looks like he is sulking, the reality is that he is already fighting against his urges. The hand is trembling due the arousal. While you have the impression, he is bothered by Yoon Seungho, the truth is that the artist is getting more and more excited due the lord’s picturesque questions. Funny is that in this scene, the aristocrat is the more innocent one. He plays with the head-band and his “innocence” is truly visible through his facial expressions too: . What is the painter’s real sexual desire? We have the answer in this panel: Getting violated by a stranger! In the wet dream in chapter 6, (chapter 6) a stranger in form of a shadow enters the artist’s room. The lord’s identity is only discovered at the end. But in his fantasy, the main lead was even grabbing him by the hair. It was definitely not a tender gesture. He was even caressing him against his will. And note that when Yoon Seungho questions when he got the most excited to the point that he had difficulties to breath, the commoner remembers this image and not the strokes. (Chapter 16) As a conclusion, the artist is actually a person who likes BDSM. This explicates why the painter’s trembling hand was grabbing the shirt in chapter 12 while facing the lord. He was hiding his erection (chapter 12) triggered by fear. This new interpretation explains why the artist painted the sex at the pavilion in the end. (Chapter 41) If the forced sex had truly traumatized him, he wouldn’t have been able to do so. Furthermore, he questioned the authenticity of the lord’s affection, when he recalled the moment, he was offered to the other nobles. He was upset and offended. (Chapter 55) Yet he didn’t even think about the scene at the pavilion for one minute. This means that Baek Na-Kyum only accepts the main lead as his lover. Fear and pain are not perceived as something negative, they can evoke pleasure.

In chapter 16, Yoon Seungho got the painter so excited that he felt the need to run away in order to hide his erection. Striking is that when the lord starts masturbating him, the commoner starts blushing and crying. But these tears and reddening are not the expression of pain, they express the opposite: pleasure. (Chapter 16) Moreover, he didn’t get angry at Yoon Seungho for touching his phallus. He got more scared that someone had seen him enjoying the masturbation and I would even say, getting grabbed by force. Therefore the lord got an erection and was so happy at the kisaeng house. Finally, he had been able to talk to the painter. He even got to receive a honest answer for the first time, where he was even called “my lord”: (chapter 16) To sum up, Baek Na-Kyum showed a certain respect to the main lead in this chapter. But more importantly, the master was in a good mood, because he kept thinking how he could procure pleasure to the commoner.

5. The secret meaning of „no“

However, he felt a little insecure at the same time, because the commoner had kept saying “no”. That’s why during their first Wedding night, the lord asked him about his first sexual experience: (Chapter 21) The painter reveals the truth by replying that he enjoyed it very much, it felt like a dream. As you can see, chapter 21 was a reflection of the episode 16: we had a discussion, where the lord tried to initiate a conversation, tears of joy connected with pleasure, the lord asking to be called “my lord” and the realization of a dream. But we have another evidence that despite his words, he wanted the main lead to continue: (chapter 16) The commoner’s hand is placed on the shoulder indicating that he is pushing Yoon Seungho to his side. He could have tried to remove the lord’s hand on his phallus, but he didn’t. The hand was even trembling from pleasure. That’s why the second sex marathon shouldn’t be judged as a rape in my opinion, although the painter kept saying no too. First, the painter makes the exact same expression than in chapter 16: (Chapter 63) And even the lord notices that the painter is getting more and more excited by the roughness. He keeps describing how the painter is reacting below (chapter 63) which can only increase Baek Na-Kyum’s arousal, as his words are again very graphic. Note that the lord’s pictorial “filthy” expressions affect the painter deeply, exactly like in his second wet dream: (Chapter 63) Therefore I come to the conclusion that in chapter 63, the painter is not crying, because he is really hurt and angry at the main lead. These are tears of pleasure mixed with pain, which is linked to BDSM. That’s why he keeps blushing the whole time. (Chapter 63) This explicates why he kept ejaculating, despite saying “no” or recognizing that there was a witness. He felt no longer scared or embarrassed, like in chapter 16, where he ran away to hide. With this new version of the sex marathon, the painter truly discovered his sexual preferences. Therefore, when we see this (chapter 63), we shouldn’t project our own emotions into the artist: pain and disgust. Remember this: the painter felt his blood running hot, when the lord grabbed his hair violently in his wet dream. (Chapter 6)

And now, you understand why the artist is scared to admit his affection to the main lead. (Chapter 68) He is still scared and embarrassed of his own sexuality. It must have felt strange in that historical period. What caught my attention is that we have two chapters where tears are mixed with pleasure and happiness (chapter 16-21), while we have two chapters where the tears are associated to pain and sadness (25-26; 41-42). Besides, in the last sex session from the first season, the painter was the one asking the lord to be quite rough! (Chapter 42) Yet, the noble couldn’t help himself showing tenderness and affection at the end with the passionate kiss. As a conclusion, the second sex marathon contains all these elements: sadness, pain, pleasure, anger and happiness.

6. Yoon Seungho‘s desires

And it is the same for Yoon Seungho. He likes BDSM and cosplay. That’s why he plays with the head-band (chapter 16), and in chapter 35 he accepts to be a servant or in chapter 49 a sex toy. Due their different sex sessions, he discovered that he likes being rough too. Therefore he couldn’t enjoy, when the painter was so passive. He recognized that he took pleasure, when the painter was showing resistance too. (Chapter 63) This explicates why he couldn’t stand the expression “I like it”. This was too insipid. So when he became rough in chapter 48, he truly hoped to provoke tears of happiness caused by the sensation of pleasure. (Chapter 48) However, since the painter ended up crying and criticizing the lord, he had the impression, he had failed. As you can see, the lord might have had a lot of sexual experiences, yet with the painter, he entered a totally new world: full of warmth and love, yet there was pain connected to pleasure as well. This explicates why he could open up and reveal that his real dream was to make the painter smile (chapter 63), which contrasts so much to Baek Na-Kyum’s dream: cry of happiness.

I deduce that Yoon Seungho discovered BDSM through the painter, and we should see this as a treatment for the sexual abuse. First, he is put in the same position than lord Song. Thus he learned that sex could only be enjoyable, if there was consent. (Chapter 79) Hence people saw the sex session in the shed as rape. Nonetheless, the manhwaphiles shouldn’t forget that Baek Na-Kyum was living in the mansion as a servant. Hence according to Joseon’s social norms, he was in no position to reject the main lead. However, for Yoon Seungho, it was different, for he was a young master. He had a title that was supposed to protect him. Consequently, the main lead can reproach the mysterious lord Song that he never asked for his consent and he would even treat him like a male kisaeng!

However, we shouldn’t forget that right from the start, the lord was seeking for a companion to share his thoughts and emotions. Due to the sex sessions, their honest conversations were limited to sex. First, they started arguing, because their couple had started on the wrong premise. Both were not honest to themselves in reality. Through their discussion, they were forced to listen to each other: chapter 25-26. Yet without any confrontation, they were not able to converse properly. Both of them were hiding something out of fear and pain, that’s why the conversation in chapter 47 failed too. As you can sense, their physical connection was never satisfying for the lord, he always hoped for more and tried to initiate conversations (chapter 35, 39-40, 41, 42). Both needed to learn to trust each other, but it was not possible because of their lack of self-respect.

7. Kim as a fake mediator

Remember that the aristocrat desires to talk to the painter right from the start, and later he wants to share his meals with him. And each time, Kim intervenes. First, he manipulates the lord to visit the artist in his study, well aware what Jihwa has already done. Then in chapter 50, he finally reveals the content of the conversation between Baek Na-Kyum and his scholar. And this conversation happens right after the lord asked to take his meal with the artist. He made sure that their interactions would only be limited to sex. In my opinion, Kim started meddling between the two protagonists, because that way he could refrain them to communicate directly to each other.

“There is only one rule for being a good talker – learn to listen” from Christopher Morley

That way, the butler hindered the painter to discover Yoon Seungho’s true personality. If they didn’t have an opportunity to talk, then the artist couldn’t learn through listening. That’s why the use of aphrodisiac in chapter 36 was actually an act of sabotage. The manhwaphiles shouldn’t forget that in chapter 35 the lord tried to discover the painter’s likes and offered the latter to join him to his room. But in order to ensure that there would be no conversation, Kim warned the artist about the lord’s bad mood. (Chapter 36) While, it looked like he was protecting the painter, he was undermining their relationship. He was actually using triangulation.

Triangulation is an approach used by many different people who share one thing in common: insecurity. As a result, they’re willing to manipulate others in harmful ways to get what they want or feel a sense of security in a relationship. Quoted from https://www.verywellmind.com/what-is-triangulation-in-psychology-5120617

I had described the protagonists as insecure, and Kim could sense these anxieties and took advantage of it. And this is no coincidence that the painter’s love confession took place in the gibang. Kim was not present, and he could only join them much later. As a conclusion, Kim made sure that there would only be sex between them and nothing more. But when he realized that sex would bring them closer, as they started communicating, he separated the couple. They should no longer have sex together. First the valet used the conversation in the library as a justification, (chapter 50) Then he utilized the lord’s misconduct in the storage room. He should wait for the painter’s visit in his bedchamber. (Chapter 75) However, the valet could never stop the progression. The irony is that their first deep conversation took place outside the mansion. (Chapter 39) Once again, the lord had a teasing attitude, yet he was gentle and considerate. This is not surprising that due to their interaction, Baek Na-Kyum started listening to the lord. He took his questions and advices very seriously (chapter 40). Thus he confronted the learned sir about his future. As the painterofthenightphiles can detect, by communicating they began trusting each other more, and as such showing more curiosity and understanding to their counterpart.

After the kidnapping, the butler imagined that the lord would kill the artist for his abandonment, yet it didn’t happen. In reality, the lord prepared himself the painter’s bed. Then when he went to the barn in order to see what was happening, he heard and saw a painter saying “no”, while the lord was quite rough. So in his mind, after this sex session, the painter would be scared of the lord and would run away. What he saw was violence because of the past. Note when he tried to manipulate the master, he mentioned the main lead’s rape at the barn. (Chapter 68) With these words, he was implying that the low-born suffered the same fate than Yoon Seungho, because it looks like that on the surface. He imagined that he would achieve his goal (sending away Baek Na-Kyum) by using his knowledge, but in my opinion the opposite happened, like I had expected. What caught my attention is that the butler only mentioned Yoon Chang-Hyeon (chapter 68), as he had sent the painter to the storage room like his father. Yet, at no moment he made an allusion about lord Song, though he saw the sex in the barn as sexual abuse. He was thinking of the pedophile’s crime. He couldn‘t bring up the pedophile for two reasons: As a domestic, he can‘t badmouth the king. Secondly, he has to blame the father, as his own responsibility in Yoon Seungho‘s suffering would come to the surface. Remember my theory: Kim was the one brought the young master to the king thinking that the latter would protect Yoon Seungho.

Yet the problem with BDSM is that the couple needs to set the rules first, and these are strongly intertwined with “respect and love”. They have to communicate. That’s why the moment the painter accepts his affection, he is forced to recognize his own sexual preferences. This is no coincidence that in the bedchamber, Baek Na-Kyum voiced his desires after vowing loyalty to his lover. (Chapter 88) Furthermore, the chronology is important. The painter communicated first his thoughts and wishes, before they initiated the love session. (Chapter 88) This contrasts to the sex session in chapter 48/49. The lord had used sex in order to force the painter to share what was on his mind. Finally, in the gibang, the painter had talked a lot about his childhood to his lover before kissing his lover. (Chapter 94) They had a long conversation, where the lord could ask questions. This conversation ended with a love confession. (Chapter 94) This is important, because sex had now a different function. Sex was now a real form of communication, they would share what was on their heart. With their bodies, they would convey emotions. They would use the hand (chapter 88) or the kiss (Chapter 95) so that no misunderstanding would be created. Therefore it is not surprising that even during their love session, they would keep talking, and even express their desires: (Chapter 96) And observe that even after the love session, they continued sharing what was on their mind and heart: (chapter 97) And now, you comprehend why the schemers had to separate the couple! From this moment on, they would communicate constantly, and this outside sex. Thus when they are in the mountain, they can speak freely. (Chapter 102) They are no longer a noble and a commoner walking together, but a real couple. They are equals sharing their happiness and pain.

However, this doesn’t mean that their love story ends here. This marks only the beginning, because the lord has so much more to show to the painter. Their love will keep growing and affecting other aspects in their life. Moreover, they are now paying attention to what is happening around them (chapter 102) Here, the painter wished to understand why they were separated for so long. This means that Yoon Seungho has to discover the circumstances which led to this tragedy. That‘s how they will realize that the enemies are close to them. The lord has to recognize that he needs to share everything, like for example the discovery of Deok-Jae’s corpse. (Chapter 97) As you can see, the topics of their conversation will diverge more and more. I do think that he was incited to let the painter sleep in order to „protect“ him. Yoon Seungho needs to recognize that warning and drawing lines are not enough to protect the loved one. He will have to take real measures to turn his statement (taking responsibility for the painter) into a reality: he will have to fight for his right to happiness. Taking the civil service examination only represents one step. Furthermore, appearances can be deceiving. The pure artist is not so “innocent” in the end. He has definitely met his match in Yoon Seungho, though I believe that his role is to heal Yoon Seungho from his PTSD and give him closure. And this can only happen, when the victim of sexual abuse confronts his perpetrators, the old bearded men!

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

Painter Of The Night: Absence

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter 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:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

The chapter 67 caught me by surprise, because it proved me wrong in one aspect: Lee Jihwa is not like Baek Na-Kyum, in the sense that he is no orphan. The red-haired aristocrat has a father, an old-bearded man. (chapter 67) My first thought was: “Where were you all this time?”

I couldn’t help myself laughing, when Yoon Seungho barged into Lee’s mansion in chapter 67, because I immediately connected it to chapter 3, when the protagonist visited his childhood friend early in the morning. Back then, he barged with an erected phallus (chapter 3) and had sex with Jihwa at the pavilion, where both were not quiet at all. The red-haired noble kept even moaning. (chapter 3) Their intercourse was noticeable, but at no moment father Lee interrupted them. And now, the erected phallus was switched to a sword, and unlike in chapter 3, where the second lead was eager to meet his sex partner, the master chose to hide behind a windscreen. (chapter 67) However, this time father Lee intervened. Why all of the sudden? For the first time, his son caused a real trouble, because someone entered his house with a sword: a huge scandal! Furthermore, he must have realized that his son’s life was in danger, hence he had to intervene. The domestics couldn’t deal with such a powerful noble. And now, you understand why I couldn’t restrain myself from smiling, because the father Lee’s reproach sounded so hypocrite. (chapter 67) Where was he, when Yoon Seungho had sex at the pavilion? Why didn’t he intervene, especially if he sees the main lead as responsible for his son’s debauchery?

Because of this question, I was reminded of the song called “Papaoutai” from Stromae, a French speaking singer from Belgium. I am posting the video with the english subtitles.

In this song, the singer outlines the importance of fathers for children. However, he does it by criticizing their absence (Papaoutai = Papa où tu es?/ Papa, where are you?). Although this represents his main message, he also questions the role played by fathers in our modern societies. He points out that’s easy to become a father biologically, but being a father symbolizes responsibilities. He explains it, men don’t become fathers naturally, since it is a work process: “nobody knows how to make Papas” / Mister “know-it-all” would’ve inherited it, is that it? Does it come from sucking our thumbs, or what”. Moreover, for him many fathers don’t take their role seriously (“Genitors or genius, tell us who gives birth to irresponsibles”). The author exposes that a father needs to think a lot about his role as father. As a conclusion, the singer would like men to become more responsible for raising their children.

And it is time to return our attention to Painter Of The Night. Byeonduck utilizes her work to show the importance of fathers in sons’ life, as she exposes different types of negative behavior of fathers.

First, we have Father Lee. He only appeared after 66 episodes. His absence had given the impression that he was inexistent and Jihwa was an orphan. We could describe father Lee as ghost. And now, you understand why I chose such a title: Absence. What does it mean for children, when their father is not by their side?

Absence of parents is a synonym for parental neglect. What is child neglect exactly? There are 6 different types of child neglect:

  1. Physical Neglect or Deprivation of Needs Neglect
  2. Medical Neglect
  3. Educational Neglect
  4. Emotional Neglect
  5. Supervisory Neglect
  6. Environmental Neglect from https://www.kaplanco.com/ii/six-types-of-neglect

Many people think that this situation only happens in families with a low income, because it is related to physical and supervisory neglect which is more visible. However reality is different. We find neglected children in wealthy families. How so? The affluent children live in comfort, but they are often starved of love and affection (Emotional Neglect). This happens, when parents are too busy to spend time with their children. Therefore they hire personal to take care of their children or send them to boarding school. As you can imagine, Lee Jihwa is a child suffering from supervisory, emotional and educational neglect.

Since Father Lee relies on his servants to take care of his son, they are not qualified or responsible enough to care for him (supervisory neglect). Due to their lower status, they are not allowed to teach him or reprimand him. That’s why in chapter 9, only the servant asked Jihwa where he was going so early at dawn. Jihwa had not to justify his departure to his father. Then in chapter 41, one domestic finds the young man sleeping on the street, while looking for him. (chapter 41) He spent the whole night drinking and his father never asked about his whereabouts. He never showed any concern, as he has his staff to take care of him. In other words, he put the whole responsibility on the domestics. After confessing to Yoon Seungho in public, no servant shows up and takes care of him indicating that neither father Lee nor the staff heard about the scandal. Nameless was the one who was asked by the inn owner, if he could take care of the young noble. (chapter 59) He even gave him a dry robe and a home for the night. Since the servant only showed up the next morning in chapter 41 and he didn’t even appear during the night in chapter 59, it illustrates that the staff is more attached to the mansion than to the impulsive noble himself in truth.

This is not surprising that in chapter 67, the servant does his best to protect his master. Despite his rude behavior in chapter 50 (chapter 50), he is even willing to risk his life . (chapter 67) He simply follows his master’s request, as he feels, that’s his duty and lord Lee could ask for his accountability. (chapter 67) Amazing, when you compare it to Kim’s behavior. We could say that the staff does feel responsible for their young master to a certain extent. Why? I believe, they all know that father Lee doesn’t pay attention to his young son and they are now responsible for him. On the other hand, their care is limited, because they are domestics to the mansion. They are not obliged to give him the emotional comfort and the education he needs. As long as there’s no real scandal, then everything is fine in father Lee and the staff’s mind. Remember that in chapter 45, the town folks described the second lead as the “mistress”, showing that even they had noticed the lord’s movements, whereas father Lee has no knowledge about it. (chapter 45) That’s how isolated the father is cut off from reality and world. This is not surprising that his son resembles him, he also lives in his own world.

But what are the consequences of emotional neglect? I would like to quote a passage from a website in French (translated)

It can also be so because a lack of love and human contact hinders its development. In some cases, neglect traps the child in sensory isolation, slowly and continuously undermining his or her mind to the point where there is little desire to connect with others and explore the world. Thus, parental neglect is a terrible absence. http://educationsante.be/article/la-negligence-parentale-est-une-terrible-absence/

Remember how I had described the red-haired noble, before Nameless helped him to become more responsible: I compared him to a blind and deaf person , which corresponds to the expression “sensory isolation”. Back then, I had imagined that he had been abused as well. I was wrong, since it was just neglect which I had already detected. However, the consequences of such a severe neglect are as terrible as abuse. Consequently, abuse and neglect are often considered the same.

Now, I will list how neglect affects the child’s personality (I won’t add to each characteristic a picture):

  1. Extremely low tolerance for frustration (chapter 13) (chapter 13); aggression (chapter 17)
  2. Sense of entitlement (chapter 51)
  3. Lack of appropriate guilt (chapter 59) In chapter 56, Jihwa sent a fake letter reminding Yoon Seungho of his trauma, yet he acts as if the other is to blame and shows no remorse. That’s why many children suffering from emotional neglect have problems with rules and laws.
  4. Lack of coping skills: Jihwa is unable to accept any rejection or criticism. We could observe this in chapter 5, when the lord sent him away. He didn’t pay attention to the reason why Yoon Seungho couldn’t focus on him.
  5. Boredom (chapter 9)
  6. Lack of purpose: This explicates why Jihwa was so obsessed to obtain his friend’s love. Since he has been neglected by his own father, the main lead became his “surrogate” father, who gave him attention because he criticized him and even punished him.
  7. Blaming others (chapter 57)
  8. Reduced empathy
  9. Poor planning skills: When he enters Yoon Seungho’s mansion in chapter 17, he is not able to hide his frustration and starts assaulting the painter so that he creates a ruckus. That’s how Jihwa is caught. As for the kidnapping and murder, he left the whole responsibility on the commoner. He never paid attention to his actions and whereabouts. He believed the criminal and that was it. Sure, Nameless didn’t take advantage from Jihwa, but this shows that he relies too much on others. This is not surprising that the second lead listens to Min’s words and manipulation (chapter 67), although he had lied to him in the past.
  10. Difficulties with competition: this explains why he uses tricks to act behind the painter’s back.
  11. Problems withstanding peer pressure quoted from https://www.paracelsus-recovery.com/blog/affluent-neglect/
  12. depression
  13. Anxiety (chapter 67)
  14. Low self-esteem
  15. substance misuse (chapter 50)
  16. shunning emotional closeness or intimacy: That’s why Jihwa kept waiting for the main lead’s confession. https://www.healthline.com/health/mental-health/childhood-emotional-neglect#symptoms-in-children

The effects of neglect are such that it leaves sequels on so many levels: socially, emotionally, intellectually and psychologically. Children exposed to neglect are at a greater risk of developing conduct disorders and of participating in delinquent behavior, which is visible in the red-haired figure: he trespasses proprieties, ruins a painting, he even had the painter kidnapped. Due to his scheme, the vicious servant Deok-Jae was killed. Then their knowledge and cognitive capacities are diminished, which is also perceptible in the young man. The latter is not able to recognize evil at all, hence he can’t detect hypocrisy and manipulations. And this leads me to the following observation: Byeonduck chose the monkey as an animal for Jihwa. The manhwaphiles can see the singe in the windscreen. (red circle). Because of the character’s previous deafness and blindness, I immediately connected it to the wise 3 monkeys:

The Three Wise Monkeys Royalty Free Cliparts, Vectors, And Stock  Illustration. Image 35588575.

In Asia, the monkeys are considered as wise, because they represent proper behavior. Confucius says:

“Look not at what is contrary to propriety, listen not what is contrary to propriety and finally speak not what is contrary to propriety.”

In other words, the 3 monkeys serve as role model. One should behave properly by avoiding any form of evil. Since Min is the Joker, also visible in the windscreen (yellow circle), it explains why Jihwa has become such a bully in the end. Min became his role model replacing the father. Consequently, the red-haired aristocrat can’t recognize evil. That’s why Lee Jihwa appeared as a spoiled child with a delinquent behavior in the end. Byeonduck is displaying the extreme consequences of a father’s the absence. And this leads me to the next question: what is the role of a father in the end?

“The function of the father is to separate the child from the mother. He must intervene between the mother and the child to allow the child to develop his identity outside the maternal symbiosis” from https://www.psycho-ressources.com/bibli/fonction-pere.html

And now, the manhwaphiles comprehend why the red-haired noble has such a low self-esteem. (chapter 67) This is is visible in this panel. The character can’t even stand. Min, the Joker and surrogate father, treats Jihwa as his servant and punishes him, because he had not followed his order. Jihwa has not entirely developed his identity, since he has always lived in his own limited world. A father has not only to provide security and comfort, he helps the child to learn self-control and boundaries. A father is associated to rules and should teach his child how to channel aggressivity. In other words, he serves as a role model for the child. But with the absence of a father, this is impossible. And since the domestics belong to the lower social class, Lee Jihwa always had the upper hand and could do anything: his father never appeared, when Jihwa was destroying his room with his sword in chapter 21. Besides, father Lee never paid attention to the friends his son had. He blames Yoon Seungho for his son’s debauchery, yet at no moment he intervened in the past. The main lead is correct to blame the father and put his son in a different light. (chapter 67) And now, the readers can understand the role Nameless is slowly taking over: he will be the father and lover teaching him how to recognize evil and even think critically. We saw Jihwa rejecting Min’s advice (chapter 67), but it was short-lived due to Yoon Seungho’s appearance. We have to assume that Yoon Seungho played the role of the father after the former had been abandoned by his own father. However, he could never assume this function properly, as he was suffering himself and couldn’t give him the emotional and educational comfort Jihwa needed. Let’s not forget that the protagonist chose to ignore his own feelings, to even numb them. Hence it was impossible for them to connect emotionally.

After discerning Father Lee’s behavior, I could easily portray father Yoon, who stands in opposition to father Lee. He is a controlling father using his sons as his pawns and tools for his own career. Here, I gathered the characteristics for a controlling parent:

  1. Interfering in nearly every aspect of the child’s life.
  2. Criticizing any choice a child tries to make independently.
  3. High, truly unattainable standards.
  4. Conditional love.
  5. Rigid (and unrealistic) rules.
  6. Lack of empathy and respect.
  7. Unreasonably harsh punishment. 8. 
  8. Lack of appreciation for the child’s individuality.
  9. Expecting the child to act like a parent.
  10. Manipulation through gifts.
  11. Playing on guilt and/or shame. https://www.mindbodygreen.com/articles/signs-of-controlling-parents-and-how-to-cope-as-adult

This explicates why Yoon Seungho had been longing to see admiration and love in his father’s gaze, always hoping that at some point he would get it. The existence of the rules I elaborated is a proof of this abusive parent. And now, you understand why Father Yoon described his eldest son as ill, suffering from wayward yang. (chapter 57) “wayward” is a synonym for rebellious indicating that Yoon Seungho had started questioning his father’s behavior and words. Simultaneously, I believe that the father judged his son’s behavior as too childish, thus he said that he had been suffering from an illness for a long time. The adolescence represents an important step in the child’s development. That’s the moment when a teenager decides to take his distance from his father in order to find his own identity. Since the main lead was described as intelligent, it was normal that the main character would decide to make his own decision and could sense his father’s flaws. Consequently father Yoon could only see the critical remarks as a sign of insubordination. This is not surprising that he blamed his son, when something happened due to Jihwa. (chapter 67) Since Father Lee never paid attention to his own son’s behavior, the former was more than pleased to hear that Yoon Seungho was responsible for an incident. Father Lee was following the rule:

The Three Wise Monkeys Royalty Free Cliparts, Vectors, And Stock  Illustration. Image 35588575.

But unlike before, this is the Western interpretation: he acts as if he doesn’t see evil or hear evil. He will never talk badly about his son. That way, he escapes any responsibility for his son’s failures. But like Confucius wrote:

“The father who does not teach his son his duties is equally guilty with the son who neglects them”.

From my point of view, father Lee will pay a huge price for his negligence due to his son. I saw in the chapter 67 a confirmation that Jihwa will cause a huge tragedy which ends with a terrible punishment. It is getting more probable that Jihwa will lose his title as noble (chapter 67) and it is even possible that he gets a scar or a tattoo. (chapter 67) This scene was important as it represented a new version of chapter 18. This time, the lord aimed at Jihwa’s face and the servant was not harmed. The main lead put the whole responsibility on the former friend.

But since I had described the role played by the servants in the Lee mansion, it is also important to take a look at the domestic’s function, when father Yoon was the master of the house. What caught my attention is that father Yoon has been also represented like a ghost, very similar to father Lee. However, while the latter represents lack of interests for the son, the other stands in opposition to this. He is everywhere due to his servants. All of them were asked to pay attention to his children and their behavior. In other words, he is also absent. The domestics must have reported him everything. And now, you can understand why Yoon Seungho kept his distance from his staff as the lord of the mansion. He didn’t want to be observed by them, that’s why he relied more on Kim in the end. With his help, he could maintain a certain gap and escape their “monitoring”. There is another evidence for this theory: remember that Yoon Seungho asked his servants through Kim to pay a closer look at Baek Na-Kyum, but they didn’t take his request very seriously. Hence the painter could escape the mansion in chapter 29. And you all know that the artist is reliving the noble’s past. This explicates why Yoon Seungho targeted the amateur spy in chapter 18, he was reminded of his own past. He could only get furious.

However, there’s another huge difference in the role played by Father Yoon’s servants. Since they only had to report to him, that means that they didn’t need to take any responsibility, as the lord was the one who made all the decisions afterwards. And now, you understand why Kim rejects any form of responsibility by saying (chapter 65). Father Yoon put a lot of trust in valet Kim in the end, as he relied on his information. This is another evidence for me that Kim is responsible for the main lead’s suffering. Since father Yoon was relying on Kim’s eyes and ears, his perception got changed and this in a negative way. That’s how he became blind. He contributed to the terror ruling at the mansion, but since Kim was kind and caring, Yoon Seungho believed this illusion, while Kim was his biggest spy. I am quite sure that he played a major role, when Yoon Seungho got separated from Lee Jihwa and received his reeducation therapy. For me, there’s no doubt that his responsibility kept getting bigger, when he saw the main lead getting raped, and he decided to close the door and ignore the incident. He just needed to say that this was not his business. Another possibility is that he could justify his choice by saying that it was done for the main lead’s best interest. Let’s not forget that Kim was the one who presented the physician to father Yoon. (chapter 57) There’s no doubt that father Yoon put all his trust in Kim. This explicates why Kim acts, as if he had the authority to give orders. (chapter 67) He must have developed this habit, because father Yoon gave him some power. Observe that he sometimes dresses like a noble (chapter 57) due to the hat and the robe. What caught my attention is that he acts behind his lord’s back, when the latter is absent. (chapter 68) Besides, since this story is based on the principe that history keeps repeating itself, then Yoon Seungho is making the same mistake like his father. However, Yoon Seungho will realize it thanks to the painter and the head-maid. Father Yoon put all his trust in his valet, unable to recognize evil in his butler. Just a reminder:

“The only thing necessary for the triumph of evil is for good men to do nothing.” from Edmund Burke

This is not just about silence and passivity, it is also about responsibility. Note that in chapter 67, Kim voices that he has been given the permission (chapter 67), so he is not assuming anything in case something happens. And in front of Heena noona and Baek Na-Kyum, he has the same attitude: (chapter 67) if Heena noona gets caught, then they can’t put the blame on him. He will feign ignorance. He has no idea how she entered the mansion. He is also applying the saying from the three monkeys:

The Three Wise Monkeys Royalty Free Cliparts, Vectors, And Stock  Illustration. Image 35588575.

He didn’t see or hear anything. He won’t tattle too. Nonetheless, he is acting only like that, when it concerns Yoon Seungho. It is a different story, when it comes to father Yoon. That’s why Kim still keeps thinking about his previous master. (chapter 57) By examining Kim again, I have to admit that I suddenly had this question: who gave the painting to Yoon Seung-Won? Did the valet act on the lord’s order? (chapter 37) Or did he decide to act on his own? Let’s not forget that during that evening, the valet had been reprimanded by Yoon Seung-Won for lying to him. It is possible that the valet chose to give the painting in order to put the blame on Yoon Seungho, as he feared that the young master could report his lie and behavior to father Yoon. The latter might not be present at the mansion, but there’s no doubt that he asked his trusted servant to keep an eye on his eldest son, whom he considered as a troublemaker. This would explain why the main lead keeps taking the medicine. And now, you can grasp why Kim is more loyal to father Yoon than his actual master. The latter gives him more freedom, yet he expects from him more responsibility. Under the ruling of father Yoon, the butler could avoid any trouble by tattling on the young master Yoon Seungho or by faking ignorance, when it was necessary. Since father Yoon put all his trust in the valet, he was not able to see evil or hear evil in the end. Kim framed innocents or he feigned ignorance. As a conclusion, Father Yoon was put in the same situation than father Lee due to Kim’s actions.

As a final conclusion, Byeonduck’s work exposes the huge importance of a father in a child’s development. Unfortunately many people still think that mothers are much more important than fathers. This explicates why in many countries, mothers receive more often custody of their child than fathers. Yet, the judges seldom question the mother’s abilities. The irony is that mothers are not per se good mothers, exactly like Stromae described it in his song, although he only talked about fathers: “Mister “know-it-all” would’ve inherited it, is that it? Does it come from sucking our thumbs, or what”. This applies to mothers as well. Being a parent means work, dedication and affection. There’s nothing intuitive.

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