Painter Of The Night: Juicy Deeds🤝 and Dry Words 🗯

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I am quite certain that people are wondering about the connection between the title and the illustration. In the latter, we have Baek Na-Kyum’s hand holding Yoon Seungho‘s. Yet there is neither word nor sex in the panel, for both are still dressed and there is no speech bubble. Yes, when people read juicy deeds, they were already imagining that I would describe a love session like this one (chapter 96), because of the expression „to do the deed“: (chapter 87) However, the deed is not just related to intercourse, like the manhwaphiles could discover it in chapter 51. With „deed“, Deok-Jae was referring to murder and assassination. As you can see, deed has other meanings than sex. Thus it has for synonyms action, accomplishment and reality!! So when I selected this name for the essay, I was thinking of the relationship between action and word. And this connection came to my mind, when Byeonduck released the last picture, because the painter’s action symbolizes a conversation and as such words.

1. Interpretation of the newest release

As my avid readers already know, it is already possible to understand the symbolism behind this picture by contrasting it to similar gestures. Because the painter‘s hand is above the noble‘s hand, I deduce that the artist was the one initiating the touch. Note that he is intertwining his fingers with Yoon Seungho‘s indicating that he is seeking closeness and intimacy. This detail is important, for the hand is conveying a message: „I feel you. I understand you. I am by your side.“ How do I know this? It is because this gesture corresponds to this one from chapter 88:

1. 1. Reflection from chapter 88

(Chapter 88) By reaching his hand, the painter was letting him know that he was no longer alone in this world. He was not only joining his side, but he was willing to try to understand the main lead. (Chapter 88) This gesture stands in opposition to the situation with Yoon Chang-Hyeon. (Chapter 86) During that fateful night, the father neither talked to his son nor looked at him. He even turned his back to him, when the young master attempted to grab his father‘s hanbok. Both scenes from chapter 88 and 86 have two common denominators: an action accompanied with silence!! Yet, what distinguishes them from each other is the nature of the deed, the action. Alliance and empathy versus abandonment and estrangement! This is no coincidence that after reaching his hand, Baek Na-Kyum started confessing his thoughts and emotions to his lover: (Chapter 88) As you can sense, the hand gesture delivered a message, but the painter still felt the need to clarify the meaning of his hand. He was willing to remain by his side, but he was still afraid of him. He didn’t want to create a misunderstanding, like for example that he wouldn’t argue with him or that his loyalty was now unconditional or total. That way, Yoon Seungho wouldn’t come to view him as a hypocrite or as dishonest, if an argument would appear. Thus he needed words to explain his position. He would remain by his side and attempt to sympathize with him, but he still felt insecure and had doubts. In other words, his action (his hand gesture) was not truly reflecting his mind and heart. (Chapter 88) Hence we could say that there was still a gap between the gesture and the words. He was willing to trust him and to be loyal to him, but not all the doubts had vanished. That’s the reason why the lord hesitated before hugging him. (Chapter 88) Later he even asked his lover not to leave his side no matter what. (Chapter 88) To conclude, the hand gesture in episode 88 was connected to insecurities and as such fear, yet the painter had shown no hesitation to take his hand. The anxiety was not visible.

1. 2. The hand and anxiety

Striking is that when the painter had reached Yoon Seungho’s hand for the first time, his hand was trembling. He was so scared of the main lead that he didn’t dare to take his whole hand. (Chapter 30) His fingers barely grabbed his hand, so when he made the following vow, he was not entirely sincere or better said, truly determined to keep his promise. (Chapter 30) The words were not truly in unison with the gesture either. Therefore he once tried to leave the mansion in season 2. When he pledged loyalty, his intention was to protect his teacher. To conclude, fear has always been present, when the painter took Yoon Seungho’s hand. Even in chapter 88, but contrary to the scene in the courtyard, his hand was not shaking. (Chapter 88) Why? It is because the origin of his fright was different. In the courtyard, he feared for his life and Jung In-Hun’s, whereas in the bedchamber, he was more afraid of the lord’s flashbacks and dissociative states. He had no idea why Yoon Seungho could change so much abruptly to the point that he would hurt himself, not just him. (Chapter 82) This explicates why the artist chose to remain by his side, though the lord had broken his promise. (Chapter 82) On the other hand, in this scene (chapter 82), the lord was grabbing his lover’s hand out of fear. He was recognizing his mistake and was trying to beg for his forgiveness, though he couldn’t express it directly. Striking is that during the lord’s flashback, his hand was trembling as well, grabbing onto his partner’s body. (Chapter 81) It was, as if Baek Na-Kyum was his rescue buoy, helping him not to be swallowed by the darkness. Thus I came to the conclusion that the protagonists’ hand gestures are all connected to anxiety and pain. 😲 Hence I am deducing that in this scene, Baek Na-Kyum is holding his lover’s hand, for he has already sensed the noble’s doubts and insecurities. He is there to comfort and reassure him. He won’t leave his side no matter what. Therefore I deduce that such a gesture can only encourage Yoon Seungho to open up and reveal his traumatic past. This is something that Baek Na-Kyum had always wished in season 3, nonetheless his wish never got granted.

1. 3. Reflection of chapters 97 and 98

And note that Baek Na-Kyum was unconscious, when Yoon Seungho had a flashback and was sent back to the past. (Chapter 102). This would have definitely scared Baek Na-Kyum, especially Yoon Seungho’s haunted gaze. On the other hand, since the painter had been himself the victim of physical and sexual abuse, the artist can only grasp why the noble reacted that way: fear, anger, despair and heartache. The artist had also been desperate, in pain and scared in the shrine, though this time, he had not screamed for his help. Since the lord had not returned to the mansion, how could he expect him to come to his rescue?

From my point of view, the lord has to explain the reason for his behavior from that night, he committed a massacre. Since the couple is in the bedchamber, I come to the conclusion that this image is linked to the painter‘s nightmare too. (Chapter 98) Back then, he had been waiting for his lover‘s return and explanations. He wanted to hear him and get his reassurance and comfort. . (Chapter 98) The latter couldn’t reassure the painter with his hand contrary to the previous night. (chapter 97) Exactly like mentioned above, the painter’s hand gesture is connected to fear and conversation. (chapter 97) Striking is that in the gibang, the lord confessed his biggest fear to his future “spouse”. He feared to lose him, though one of his biggest desires had been finally fulfilled. This means that Yoon Seungho felt even more insecure and frightened than before after receiving the artist’s love confession. That’s the reason why I believe that the new picture is standing in opposition to the scene in the gibang. The lord will feel relief after his admission. As a conclusion, the image is announcing the lord’s confession and the artist will listen to him without any judgement or fear. He will never reject him or call him crazy due to his past action.

1. 4. Reflection of chapter 89

What caught my attention is that the painter had touched the main lead’s hand in another occasion. (Chapter 89) While the painter was sitting on his partner’s lap (chapter 89), he was massaging the wounded fingers. It was, as if he was treating his companion’s wound. Note that after his terrible flashback, the painter had avoided to grab his hand out of fear that he might hurt Yoon Seungho even more. (Chapter 84) Therefore I conclude that the new panel is an allusion to treatment. While in episode 89, the painter was acting as a doctor, in the new image, the young man is working more like a counselor or psychologist. The aristocrat’s hand might not be wounded in that scene, but this is not the case for his heart and mind. So for me, this scene is connected to mental treatment. And by confessing his past, he will get liberated from his burden, released from that darkness. He will be able to finally see the light and to have hope again. As you can sense, I see a connection between episode 84 and this new panel. Note that during that day, the painter was also holding the noble’s hands, but here they were facing each other. (Chapter 84) However, the lord had refused to open up. This is no coincidence that the author had not created such a picture during that chapter. As the manhwalovers can detect, I believe that in that scene, Yoon Seungho will confess and reveal the source of his self-hatred and guilt. As a conclusion, though this image looks very romantic and beautiful, I think that it is accompanied with fear, guilt and agony. The readers could definitely come to cry while the lord’s revelation. Since the painter spoke in chapter 30, 84, 88 and 89, I am assuming that this time, he won’t talk much so that the lord can speak more freely.

But if the manhwaphiles compare all the mentioned scenes, they will realize that the hand gestures were strongly connected to promises or vows. It becomes even more obvious, when the artist criticized his lover for his bad behavior (chapter 82), caused by the panic attack. This is no coincidence that the painter employed the expression „empty words“. His action was not reflecting his words. Thus there exist the following quotes

  • “Actions speak louder than words“.
  • „Words are from the lips, actions are from the heart“: Rachida Costa.
  • „Well done is better than well said“: Benjamin Franklin.
  • The superior man acts before he speaks, and afterwards speaks according to his actions.” – Confucius

And that’s how I realized the importance of the link between action and words. The former is mirrored in the hand, while the words are connected to the tongue and mouth. Thus I come to the conclusion that when Baek Na-Kyum is holding his lover’s hand, he is no longer scared of Yoon Seungho. Therefore, I deduced that here it was not the case for the noble. Hence I believe that this gesture is to encourage Yoon Seungho to open up, to confess his doubts, guilt and pain. But by putting his hand over Yoon Seungho‘s, the artist is demonstrating that he is protecting him. He will listen to him and remain by his side and this no matter what. As you can sense, I am expecting a new version from that night (chapter 88), and this, although the lord is indeed a murderer. For Baek Na-Kyum, his gesture will have a different meaning: he saved his life and freed him from his torment. Secondly, if the lord reveals the circumstances of his mother’s death, the artist will definitely deny his responsibility in her death, a new version of this scene. (chapter 75) And because I detected a discrepancy between words and gestures, I recognized the presence of another trick from Byeonduck.✨

2. Passivity and silence

What caught my attention is that during the love session from chapter 91, the readers discovered the painter’s likes. While the lord said this to the painter: (chapter 91), the latter denied this with the following statement. (chapter 91) But when did the painter admit that he liked embracing him? In this panel! (chapter 88) That’s the reason why the lord got surprised and moved. As you can see, the author never revealed this whispering to the manhwalovers! The latter had the impression that the lord’s reaction was related to the loving embrace, but it was only partially correct.

This is important, because in this scene, the words were matching the action! That’s the reason why Yoon Seungho could finally accept it as a warm and sincere hug!! The painter was honest towards him. This scene contrasts so much to the love session at the physician’s, where the painter had hugged him, but had remained silent (chapter 62), when the lord had confessed to adore him. (chapter 62) This explicates why Yoon Seungho was so pained in season 2. He got embraced, but there were no words. Consequently, when the painter vanished during that night, the lord could only perceive the embrace as hypocrisy and fakeness. That’s how I realized that the story is developed on the contradiction between words and actions. But not only that, there exists a strong link between silence and passivity. Thus after the abduction in season 2, Baek Na-Kyum remained more or less silent (chapter 62), and as such he was totally passive. He never stood up and begged the lord for his leniency. He stayed there on the bed giving the impression that he was indifferent. That’s the reason why Yoon Seungho got more enraged, for he felt fooled. This means that the absence of words represent inaction… This explains why Yoon Seungho had to corner the main lead in chapter 48 (chapter 48) to say something, as he had sensed his passivity behind his „submissive attitude“. This is no coincidence that during this night, the painter felt extreme pleasure to the point that he peed. Therefore he could voice his wish to Yoon Seungho during the love session from season 2. (chapter 73) That’s how the lord concluded that the painter liked riding him, while in reality such a climax had appeared for the first time, when both were facing each other! (chapter 49)

And this leads me to the following observation. The protagonists were the targets of plots, because both of them had been silenced. By being voiceless, they had been turned into naïve puppets. Their silence corresponds to their passivity. This interpretation helps to understand why the artist was more active in season 1 (chapter 4) than season 2. He was encouraged by his future partner to speak up, yet the moment he got heartbroken, he was left speechless. And note that when the lord played his prank in the bedchamber, he never said anything to his father. (chapter 83) He didn’t move as well. Why? It is because he knew that talking to his father was pointless. However, Yoon Seungho had hoped that with his prank his father would finally see the truth. He had been fooled by Lee Jihwa and father Lee!! But the stupid father never realized it. As you can see, the lord had in that scene long given up to use words, he hoped that his father would see the truth with the prank. Don’t forget that deed stands for truth and reality. He thought that “actions would speak louder than words”, but he was proven wrong. This signifies that in this scene, (chapter 86) Yoon Seungho had acted the opposite, he had tried to speak up, but he had been muted. I am also thinking that the young master must have attempted to converse to his father (chapter 77) here as well, but the lord had not listened to him. Why? It is because Kim had said nothing!! (chapter 77) Silence was considered as an admission. This is no hazard that the butler didn’t take care of his young master. This scene symbolizes the quote “Actions speak louder than words” (chapter 77) The butler had betrayed the young master’s trust, for he had not intervened. He should have defended Yoon Seungho, but no in fact he had sided with the elder master Yoon once again. Not only he had not reminded Yoon Chang-Hyeon of his promise, but also he had assisted the ruthless father by giving himself the straw mat beating! (chapter 77) That’s the reason why the other servant looked down on Kim. Even after hurting his young master, he stayed paralyzed giving the impression that he felt nothing for Yoon Seungho! And this was actually true, for the valet felt more betrayed by the master’s attitude than pained due to the wounded noble. Like mentioned above, he could have refused to do it, but no! This is not surprising that the young master felt pained and angry. Striking is that in this scene, the main lead never said anything… a sign that he was already resigning to his fate! He was no longer resisting! And this leads me to the following conclusion. In season 3, Yoon Seungho was rather passive, hence he didn‘t voice the source of his suffering to Baek Na-Kyum!! However, he was not totally inactive, for he still opened up to the painter at the end of season 3. He was able to express his likes, dislikes and fears, hence Min’s first plot didn’t work out like expected!! And the return of his active attitude was already perceptible in the bureau of the authorities. (chapter 98) Here, he examined the robe and questioned the officer. The problem is that he was still relying on his staff and as such Kim. Therefore it is not surprising that he could still be manipulated by the schemers. Hence I am anticipating a total change in season 4. By conversing with the painter, the lord can only become more proactive to the point that he will be able to ruin the next schemes. I am even expecting a prank from the protagonists in season 4!! But this doesn’t end here. I am deducing that in the past, Yoon Seungho suffered because one tormentor would do things and say nothing, while the other would talk a lot, but act the opposite!! For me, these descriptions fit to Kim and the pedophile. I have the impression as well, that both characters came to switch their behavior. In one circle, Kim did many things, but remained mute, but later he did the exact opposite. I would like to point out that in season 3, he acted this way. He would promise loyalty to the lord, (chapter 77), but backstabbed him in the shadow. Besides, we shouldn’t forget that a narcissist’s words don’t match their action, because they are pathological liars. And so far, I had portrayed father Yoon (overt), Kim (covert) and even Jung In-Hun (overt) as people suffering from NPD. And I am assuming that the mysterious lord Song is not different from them, though I am suspecting that he must be a covert type.

And now, you are probably wondering why I added the adjectives “juicy” and “dry” to the title, while so far, my main focus was “action” through the hand gesture and words. The reason is simple. There exists an Arabian proverb: “A promise is a cloud, fulfilment is rain”. Since in this country, rain is rare, the saying is showing that people make promises easily (cloud), but they never keep their words, for it almost never rain. I found it interesting that it rained, when the butler and the father betrayed both the main lead. Their actions exposed their true colors. (chapter 77) Besides, it also snowed, when the painter got abducted twice, a sign that actually a promise had been broken.

3. Conclusions

Thanks to the lord’s actions (his obsession and love for the painter), Baek Na-Kyum could finally become owner of his own body and thoughts. That’s the reason why he could pee in the study, the bedchamber and the gibang and this without getting any reprimand, while the painter’s actions could bring the lord’s tears back! Their actions, the hand gestures and the embraces, became fruitful. This means that Yoon Seungho is finally possessing his own body and mind. This is no coincidence that he lowered himself, when he apologized to his lover. (chapter 102) He is no longer following social norms. This could only happen, because the lord had just committed a huge crime. What is the point to respect laws and tradition, when he became a murderer? Any other transgression can only appear as harmless. That’s the reason why I am expecting that Yoon Seungho decides to disregard social norms from that moment on and play a prank on the “villains” of this story.

Before closing this essay, I would like to mention other scenes, where the hand from the protagonists was connected to fear, confession, comfort and reassurance: (chapter 76) (chapter 53) (chapter 87), while the same extremity symbolizes the opposite with the villains and antagonists: violence, silence, submission (chapter 83), hatred and resent (chapter 97) Here, Heena was hurting her brother, because she wanted him to face “reality”. What caught my attention is that we never saw the father’s hand in chapter 86! (chapter 86) Why? It is because it reveals his powerlessness. And this leads me to the following conclusion: the deed stands for reality and honesty, while the words symbolize emptiness, illusion and deception. And now, you comprehend why this work is composed by the dichotomies: dream, words and mouth versus reality., action and the hand. This means that in season 4, the manhwaphiles should try to analyze the thoughts and emotions of the characters behind the hand gestures. At the same time, they can also verify if my interpretation is correct. Is the zoom of the protagonists’ hand connected to fear, confession, empathy and assistance?

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Painter Of The Night: Happy laughter 😄 and fearful agony 😧

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What is the common denominator between all these images? The painter’s mouth is wide open. This implies that the painter is laughing! In other words, these pictures are showing a happy Baek Na-Kyum. The laughter is not just a symbol for joy, but also an indicator for social bonding, cooperation and as such social acceptance. Note that in all these scenes, the painter is not laughing alone. He is either facing his lover and the “witnesses” of his marriage.

On the other hand, what caught my attention is that in the story itself, the manhwaphiles never saw the painter laughing in the present!! The only time, he was caught laughing happened during a dream. (chapter 87) Naturally, this vision reflected the past due to the presence of the noonas. But if you read my previous analysis, you are aware that the painter’s nocturne visions are always composed of three elements: memory, nightmare and desires which will come true at some point. The readers will certainly recall the painter’s wish in the bedchamber: (chapter 81) However, here again, this was not real, for he was imagining it. He had restrained himself, for he felt that his actual life was like an illusion. It was too good to be true. Thus I conclude that in both visions, the painter wished to laugh and as such to be happy. And this observation led me to the following deduction. In season 4, the manhwalovers will witness Baek Na-Kyum’s laughter. But this doesn’t end here. All the quoted pictures share another similarity which is the absence of the sound!! There is no HA, HA, HA…. Thus I deduce that in season 4, the readers will even hear Baek Na-Kyum’s laugh!! 🤣

1. Evidences for this prediction

First, I would like to remind my avid readers the following rules: Yoon Seungho’s actions will always be reflected by the painter’s and the reverse. Secondly, each scene in a season will be mirrored in other seasons. Striking is that the readers could witness Yoon Seungho’s joy and laugh in season 1. Thus this means that the painter should laugh in season 4. Interesting is that the author had separated the lord’s laugher in two different scenes. In episode 1, the protagonist had his mouth wide open, because he was so happy to meet his idol. (chapter 1). His mouth was exposing his emotions: happiness. It was, as if he was laughing internally out of joy. Then in the pavilion, the author let us hear Yoon Seungho’s laugh, while we couldn’t see his face. (chapter 25) As you can see, Yoon Seungho was not truly seen “laughing”. This is what we saw right after: (chapter 25) Either the sound was missing, or the readers couldn’t see his open mouth. Then in chapter 51, Byeonduck created an ambiguous situation. (chapter 51) Who was laughing here? The main lead or Min recognizable with his green hanbok? This confusion was deliberate. It was to give the impression that the lord had moved on, he was not missing his partner. This image served to divulge the reality: this happiness was fake. Another interesting aspect is that we couldn’t see the lord’s mouth, for it was too far away. It was more or less drawn from the painter’s perspective who was walking in the courtyard. (chapter 51) The purpose of this trick was to deceive the painter, Yoon Seungho would no longer care for him. However, this trick didn’t work out like imagined due to the maid’s words. She wished that he would remain in the mansion. But let’s return our attention to the laugher in this panel. I would even add that there was no real social bounding, for Black Heart was enjoying about Yoon Seungho’s misery and loss. He believed that the painter had died. And if it was Yoon Seungho who laughed, then this was to mask his pain. Then in chapter 70, he was caught laughing. And observe that the author separated the sound from the face: (chapter 70) Yoon Seungho would even hide his face from the painter, as he was looking down. His laugh was barely perceptible, and when the author revealed his face, Yoon Seungho used his hand to mask his smile. (chapter 70) It was, as if Yoon Seungho was not allowed to smile or to laugh at all. I would even go so far to say that laughers were actually forbidden in the mansion. Striking is that in season 3, for the first time, we could see and hear the lord’s laughter contrary to season 1 and 2.. (chapter 78) This illustrates the progression of the lord’s healing. He was getting happier, and he would interact more and more with people. Yet, in this scene, the lord’s laughter was not loud contrary to the one in the pavilion. Then in the gibang, his laugh was also fake, for he was masking his pain. (chapter 93) Thus the author didn’t let us see his mouth once again. But the painter could see the difference between a sincere laughter and a fake one, as he had already heard and see the lord’s true laugher! Because the lord laughed in all 3 seasons, I could only assume the painter’s laughing in season 4. But I have another proof for this prediction. In season 3, the painter’s laughter was shown in visions (chapter 81, 87) or through the testimony of the maid. (chapter 91) However, the manhwalovers have to envision that, when he caught the pervert with the maid together, he was totally embarrassed. Hence his laugh was fake! In other words, I am doubting that he truly laughed. That’s the reason why Baek Na-Kyum denied to find the situation funny. (chapter 91) As a conclusion, expect a picture with Baek Na-Kyum ‘s laughter reflecting his happiness and sincerity. And this is definitely related to his marriage: I have another proof for this expectation, the lord’s mouth in this scene: (chapter 87) Here, he was making fun of his father, and used the rumors about his imminent marriage. That’s how I realized that in season 3, the lord had often played the role of the Joker (chapter 78-79; 87; 89-90-91), until he was replaced by Black Heart. That’s the reason why I have been predicting that in season 4, Yoon Seungho will play a huge prank on the old bearded men, especially the mysterious lord Song, with his marriage. But while making this connection between the lord’s laughter and the painter’s, I had another revelation: the mouth wide open is not just the expression for laughter, but also for fear and suffering.

2. Anxiety and torture

Look at this image: (chapter 102) There is no HAHA, this shows that this situation is not funny. Yet, Black Heart is still smiling, he is even explaining that they were just playing. However, this smile is totally fake, for he is already scared. Hence he is stuttering. Moreover, he is trying to downplay the whole situation, as he describes it as a game. But the closer Yoon Seungho got to him, the more the villain got scared. (chapter 102) On the other hand, Black Heart’s mouth remained wide open, but it slowly exposed his true emotions. As the manhwalovers can detect, the sound “Haa,” is not expressing joy or happiness, but huge anxieties. Thus I couldn’t help myself thinking that in season 4, the painter’s laughter will be reflected with the heavy breathing from fear and pain. Someone will have a mouth wide open out of fear!! And this connection was already present in chapter 1: (chapter 1) versus (chapter 1) Baek Na-Kyum and Yoon Seungho had both flashbacks (chapter 66), while Min was smiling. He was internally laughing, for it found it entertaining. [For more read the essay HAHA Flashbacks”] And this fear was exposed by the sound: HAA (chapter 99) But this doesn’t end here.

The sound HAA is just associated to anxiety, but also to moan. Hence I couldn’t restrain myself thinking that the wide open mouth can not only express pleasure, but also pain caused by TORTURE! Let’s not forget that the painter had been hiding his moaning out of pleasure in the past (chapter 84), but in the gibang, he dropped this habit for good: (chapter 96) This connection between pain, pleasure and laughter appeared in chapter 91, as the story is based on the following rule: there is always a reflection within the same episode. I would like the manhwaphiles to observe this image: (chapter 91) Here, the lord had changed position provoking pleasure to the artist. Before, the maid had laughed so loudly in order to get the painter’s attention. (chapter 91) According to my interpretation, she hoped that Baek Na-Kyum would discover the existence of the kisaeng’s letters so that the painter would feel betrayed by Yoon Seungho. He had ordered to hide the correspondence. But for that, she needed to explain the reason for her loud laughter. Hence she revealed the incident with the pervert. The irony is that due to his pleasure and embarrassment, Baek Na-Kyum didn’t pay attention to her words. He already felt ashamed, after the servant had exposed the situation in the bathroom. (chapter 91) Thus he avoided his lover’s gaze. And note that in chapter 25, the lord laughed, before he raped the painter. (chapter 25) This episode exposes the connection between laugh and pain. Here, you can see that the painter is also screaming out of pain, the negative reflection of Yoon Seungho’s laugh. Baek Na-Kyum’s mouth was wide open. When people are tortured, they will usually scream their pain and fear.

The last image is taken from Dong-Yi, a historical k-drama, which I am employing as a reference. The beholder can detect a huge difference between this scene (chapter 37) and the one from Dong-Yi. The absence of the sound. Moreover, the manhwalovers can not see the mouths from the victims either. The torture was already finished, for they had removed the tools and the „suspects“ were covered with blood. And this leads me to the following observation. The author selected a perspective from far away, and didn’t add the sound on purpose. This shows that the pedophile was not present, when the torture took place. He only arrived afterwards. This exposes his cowardice. Secondly, since I had outlined that the author had separated the sound (HA HA) from the lord’s mouth concerning the laughter, I am quite certain that she will use a similar processes for the torture. Naturally, I am also assuming that torture from the past could be slowly revealed. Consequently, my prediction is that the negative reflection of the painter’s laughter will be the yelling combined with fear and pain. This signifies that people will suffer in season 4 and probably die. Another evidence for this prediction is that the author often focused on the characters’ mouth. And this is what we have: (chapter 77) (chapter 86) (chapter 98) In the last scene, Heena was sort of “punished”, when she confessed to the main lead. That’s the reason why I believe that in season 4, we will see people screaming out of pain and fear. It can be in the present or in the past. The interrogation and torture should be exposed in my eyes contrary to chapter 37. Why? It is because Baek Na-Kyum needs to know what happened to Yoon Seungho to understand him. There is no ambiguity that the painter will suffer again, for in this work “pain” is necessary to change the painter’s mind and heart. Remember that he was “tormented”, when he finally admitted that he believed in his lover’s innocence. (chapter 99) Despite the “torture”, he still claimed that Yoon Seungho was no murderer. Thus I conclude that in the next season, it should be the reverse. Yoon Seungho has to make a new leap of faith believing in the painter’s innocence and purity. Hence I am expecting an arrest in season 4. Finally, we shouldn’t overlook that each word Yoon Seungho said became the truth, so when he stated this (chapter 65), he was already warning the sister. She could face human justice. However, this idiom suddenly caught my attention: “the wrath of humans”. It can be a reference to the authorities, but also to the inhabitants. The latter could get infuriated by the police work and put the officers under pressure or in the worst case, the inhabitants could decide to do their own justice: lynch mob. According to me, many commoners died in season 3. Hence this could upset the town folks who would ask for real justice. And if Yoon Seungho’s fiancée is acknowledged by them, then it will be impossible for the pedophile to use the authorities to achieve his goal, separate the couple and hide his own crimes. Thus his last puppets will have to take the fall. Another important aspect is that when Yoon Seungho warned the kisaeng, Kim was also present, though he still remained in the background. (chapter 65) As you can imagine, I am already sensing a bad ending for Heena and Kim. Striking is that in this scene, while the noona was seen constantly with her mouth wide open, yelling at the host and calling for her brother, the latter was having a flashback. This is no coincidence, especially if you recall that Heena was connected to Baek Na-Kyum’s tears: (chapter 68) (chapter 94) In fact, this reinforces my conviction that the painter’s laughter will be contrasted with people’s moaning and yells out of agony. At the same time, I think that Heena is connected to scandal, but in season 2 and 3, she failed to create a ruckus. Why? It is because in the past, she had helped to cover up the crimes committed in the kisaeng house.

3. Conclusions

Under this new perspective, the manhwalovers can comprehend why I used the following emojis in the title: 😄😧 Both of them have a open mouth, the only difference are the eyes. Out of fear, the eyes get bigger, because the body is in survival modus. On the other hand, when these persons got tortured, they closed their eyes out of agony,

reminding us of the painter’s suffering in the gibang. Yet, the closed eyes and the open mouth is quite similar to the painter’s laughter: The readers can grasp why I made this connection between suffering and happiness in the end.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My 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 bride 👰 (second version)

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

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I am quite sure that you all know the saying: “Things always come in threes”. Striking is that this idiom exists in many other languages:

  • French: “Jamais deux sans trois”
  • German: “Aller guten Dinge sind drei”
  • Spanish: “No hay dos sin tres”

Moreover, the human being is even composed by three parts: the body, the mind/spirit and the soul/heart. All this proves that the number “3” is indeed associated to completion and perfection. I am quite certain that you are now wondering about the connection between the magical and mystical number three and the title “the bride”. The answer is quite simple: we had three bridal carries in season 2, which the manhwaphiles could witness.

1. The first bridal carry

The first bridal carry occurred in chapter 45 Back then, the identity of the “bride” was unknown. However, there were two witnesses: the wandering merchant and the servant Deok-Jae. (chapter 45) The former mentioned this event to others so that a rumor started among the town folks. They were all wondering if Yoon Seungho was engaged due to the bridal carry. Since no marriage had happened, but simultaneously he showed great care in that person, they definitely perceived that the latter in his arm meant a lot to the master. They could judge that the noble was in love. At the same time, they were pleased, because they had realized that the black sheep of the Yoons seemed to have calmed down. Many painterofthenight-lovers couldn’t help smiling, when the entertainer praised the fiancée for her good sexual technics, (chapter 45) because the truth was that Yoon Seungho was so dissatisfied with the painter’s tricks. (chapter 45) And with such a contrast, it becomes obvious how strong and deep the noble’s affection for the artist already was. While the commoner’s comment diminished Yoon Seungho’s love for Baek Na-Kyum, as it was reduced to sensuality and seduction, the lord’s attitude clearly displayed that Yoon Seungho was expecting something else, but he had no idea what exactly. Striking is that the low-born was also clueless that the aristocrat had carried him like that, for he had fallen asleep. The fact that the wealthy man used his own hanbok to carry the commoner to the bathroom illustrated how caring Yoon Seungho was, but no one told him about this. Furthermore, this gesture outlined that the protagonist was taking great of the painter’s body. He shouldn’t get cold and he should get cleaned immediately, underlining that the first sex marathon had left a huge trauma on him. This incident (the bridal carry) was never mentioned within the mansion for two reasons. The domestic Deok-Jae had no interest in telling it to others, as he was filled with jealousy and still hoped that Baek Na-KYum would lose the lord’s favor. As for Kim, when he discovered that the incident had reached the ears of the inhabitants, he seized the opportunity to hide the fiancée’s identity in order to limit the damages. On the surface, it looked like he was protecting the couple’s interest, whereas in reality he feared a scandal. But more importantly, he wanted, just like Deok-Jae, this situation to be just temporary. Therefore he could only reduce the painter’s status: he was neither a bride nor a fiancée, at best a favored servant. (chapter 45) That way, if the low-born was to disappear, no one would connect Baek Na-Kyum to the bridal carry. All the men were convinced that it was a woman due to the smooth legs. (chapter 45) Since the painter had been kept in the dark about the noble’s action, he couldn’t realize the noble’s feelings. The only person pointing out the master’s affection for the commoner was the head-maid. (chapter 46) Since she had been kept in the dark by Deok-Jae and Kim about the bridal carry, she had to mention another conversation to prove her observation. Yet it was definitely less convincing, as it was more related to comfort and respect.

2. The second bridal carry

Then the second bridal carry took place much later in chapter 66: (chapter 66) The manhwalovers will notice the progression. First, the identity of the “bride” is no longer hidden. This time, the lord’s attention is more focused on the head, as his hand covers the painter’s head. In other words, he pays less attention to the artist’s body. The latter is just wearing a shirt and nothing more. The reason for this divergence is simple. Baek Na-Kyum had just a flashback, a panic attack indicating that his spirit or mind was troubled. Yoon Seungho had recognized that the painter was injured mentally. Just like in the past, there’s a witness, but this time, it is the noble Min. Why only one witness? If you compare it to the first scene, you’ll note that Black Heart replaces the merchant and the servant Deok-Jae. The Joker is lusting after the low-born due to the smooth legs (a new version of this panel: chapter 45) and he is definitely jealous of the main lead, similar to Deok-Jae. This made me realize why The Joker revealed Jihwa’s abduction right after. Imagine, if people got aware of this incident, then The Joker wouldn’t be able to taste the artist. Every one would know about Baek Na-Kyum and his importance to Yoon Seungho. He was no longer a low-born, but the lord’s official wife and partner. If he were to disappear, no one would be able to escape punishment. Therefore he needed to separate the couple… since the artist was in a poor condition (chapter 66). He could only assume that the painter wished to disappear, for he had been abducted and Yoon Seungho had failed to protect him. Later, Kim could report to him what Yoon Seungho had done to the painter in the shed, so that Min’s belief that Baek Na-Kyum would leave the mansion could only increased. Both imagined that the commoner would desert the lord’s mansion. Both hoped that Baek Na-Kyum would reject the “marriage”, although he was already chosen as the lord’s bride. As you can observe, the bridal carry plays a huge importance, it definitely symbolizes marriage, even if it is between two men. And this led me to the theory that Min had already envisioned the next scheme. The conspirators had no time… especially if other servants noticed the bridal carry too. Let’s not forget that before Min stood in front of the master’s bedchamber, other domestics were standing there: Kim, the maid and another servant. (chapter 66) It is definitely possible that they looked at their lord’s action from faraway. If so, this would signify that the news about Baek Na-Kyum as the lord’s bride has finally reached the ears of the staff.

3. The third bridal carry

In the third bridal carry, there is another huge difference. This time the painter is awake and his mind is no longer troubled. (chapter 71) This signifies that now the artist is well aware of the signification of that action. That’s why he is definitely moved. He is blushing and letting his head rest on the protagonist’s shoulder. (chapter 71) He stares at the lord’s shoulder so intensively in order to confirm that this is real. More striking is that the painter’s nose is on the lord’s shirt implying that the commoner is smelling the lord’s fragrance. Furthermore, the painter senses the warmth from the master’s body, just like he hears Yoon Seungho’s footsteps on the wooden floor. To sum up, Baek Na-Kyum is using all his senses that he is not dreaming. Gradually, he is accepting it as reality, hence he can only blush. (chapter 71) What caught my attention is that the lord carries the painter closer to his chest, while the artist is hugging the noble too. In other words, their hearts are close to each other. Hence this bridal carry is associated to the heart. While the first one represented the body, the second the spirit, now the last one is related to the soul. To sum up, the third bridal carry symbolizes the official marriage. Both have chosen each other. And now, here is the question: where are the witnesses? So far, Byeonduck didn’t draw any witness. Nevertheless, we have to imagine that there exist witnesses. Since Kim was always present during the three kowtows (for that read my analysis called The five candles), I believe that he definitely observed the scene in the shadow, especially after comparing this panel (chapter 71) to this one: (chapter 33). Back then, the butler was worried that Baek Na-Kyum would reveal his complicity in the escape. However, this time Kim is concerned for another reason: the painter is no longer a favored servant, but now the bride and as such Yoon Seungho’s official partner. But if the readers compare the two previous bridal carries, they’ll remember that there were more than just one testifier… although in the second case, it was just implied. Thus I think that there could be another witness. In the first version of this essay, I had imagined that the Joker could have been present: In chapter 44, he saw how the painter walked to the study. Secondly, he was present during the second love session: . (chapter 60) However, I was wrong here. Then it occurred to me that if there was a second witness, then it could have been the new version of Deok-Jae. He had been following the guest (chapter 66), when Min entered the propriety. And according to social norms, he should have followed the noble. So he could have seen the painter’s legs from a certain distance. And this also would explicate why the domestic had such eyes, when he approached the bedchamber in season 3. (chapter 80) He was interested in the painter. And there is another evidence that there are always two witnesses of that bridal carry, the love session in the gibang. (chapter 96) The noona was joined shortly after by Min who could now hear their love session. (chapter 96)

4. The meaning behind the bridal carry

And that’s how I discovered two important aspects: timing and consent.

  • Chapter 45: It happened after the sex session, and the painter had returned. This means that he had accepted Yoon Seungho as his partner.
  • Chapter 66: One might say that it occurred after the sex session. Yet, people shouldn’t forget that they were sleeping in the bed, when Heena caused a ruckus. (chapter 65) This means that the painter was now the official partner of the protagonist. Nonetheless, the lord tied his bride so that the latter wouldn’t leave. The bridal carry was connected to forced marriage.
  • Chapter 71: The bridal carry took place before the love session, and the painter had agreed to it. He had accepted the main lead’s advances.
  • Chapter 78: Before the love session, though their intimacy began in delay. Note that the bride was the one who determined, when they should be intimate. However, they got interrupted. Then the consumption was quite painful, though the painter had masturbated before and as such prepared himself. (chapter 81) For me, this is an allusion to Yoon Seungho’s rape in his youth.
  • Chapter 96: The wedding night got interrupted by Heena. This time, the bridal carry was strongly associated to sex.
  • Chapter 102: This happened after the sexual assault. The lord was acting like in chapter 66. He was full of regret and tenderness. We could say that he was acting like a knight protecting his bride. Here, again the bridal carry is intertwined with death and pain. Don’t forget his words in the bath: (chapter 70)

Another huge difference between the two first bridal carries is the importance of the caresses. Yoon Seungho had sex before the bridal carry in both scenes. But more importantly, neither in the first case nor in the second he spent his time entangled, kissing and fondling. He was either teaching sexual lessons or claiming the painter as his belonging. In the third Wedding night, the chronology is respected. We have first the bridal carry, then the shower of caresses and kisses.

Through this examination, I realized that the bridal carry must have played a huge role in Yoon Seungho’s past. Either he experienced it, but he could never witness it (chapter 45, 66) or he has repressed it. Another possibility is that the bridal carry represents the biggest wish of the main lead. Back then, he wished that the pedophile had carried him like that. If only the “pedophile”had treated him that way… The manhwaphiles should keep in their mind that the bridal carry symbolizes marriage. The groom is supposed to bring his bride to the nuptial room, and according to me, the lord was raped in his own bedroom (the stranger in the night). And if this is true, there could be no bridal carry. Besides, the manhwaphiles should remember that the bridal carry in Painter Of The Night is strongly intertwined with sorrow and regret. Thus I had the following idea. Yoon Seungho would have forgiven the sexual abuser, if the latter had done it at some point, because this meant that he didn’t fear to be seen together. Hence we have the constant presence of witnesses during these scenes. I had already said that the bloody marriage was fake, for it was never official. Moreover, the bridal carry indicates that the man is taking his responsibility. But if the pedophile let others carry Yoon Seungho (chapter 77) and clean up his mess… no wonder why Yoon Seungho came to resent the man. He left the young master totally unprotected, exposed to all forms of abuse. And the man might have wondered why Yoon Seungho was so difficult to tame… Therefore he could never entirely trust the main lead. Consequently I view the gesture as the symbol of bravery, care, responsibility and strength. From my point of view, the main lead must have recognized that he was “married” much too young to the pedophile. During his conversation with Bongyong, the lord indicated that age mattered. He still had time. (chapter 78) They shouldn’t get married too young, and in my opinion, he was speaking out of experience.

As a conclusion, in season 2, I noticed 3 bridal carries. We could say that the first bridal carry symbolized the union of the bodies, the second of the spirit and the last one, the marriage of the souls. But since the story is going in circle, this signifies that in each season, we had them, but we couldn’t see all of them. Why? It is because Yoon Seungho never realized what he was doing. In chapter 45, he was like in trance. (chapter 45) Then in many occasions, the painter didn’t discover that Yoon Seungho had carried him like that, for he was either sleeping or unconscious. Hence the lord had to do it over and over again, until both realized the existence of the bridal carry and its significance. And it only happened in season 3: (chapter 78) Here, both were conscious. Thus I am deducing that Kim could have realized the lord’s biggest desire (embrace and bridal carry), but Kim chose to remain silent. He never divulged this information to lord Song. According to me, the latter kept sending beautiful clothes as a sign of contrition and support. This proves one more time that ignorance is not a blessing.

At the same time, the teacher’s embraces in chapter 68 and 70 clearly revealed that the scholar was treating Baek Na-Kyum like a child: (chapter 68) (chapter 70). The learned sir acted like a father and with the recollection of the piggyback, Baek Na-Kyum recognized the true value of this carry. He was never loved, like the commoner desired, the young man just viewed him as a child. He was innocent and pure and couldn’t realize the true nature of the scholar’s feelings: trivial and fleeting emotions, which turned into indifference, when the artist became an adult. That’s the reason why the artist is no longer upset… he judges this event in a different light. Back then, he was only a child for Jung In-Hun. This scene represents Baek Na-Kyum’s loss of innocence. He is now a mature man who makes decisions on his own. He is no longer idealizing Jung In-Hun, and the bridal carry reflects this maturity. (chapter 71) Baek Na-Kyum is not seeking warmth and affection out of despair or pain, he is finally able to detect the lord’s affection in each situation: in the bathroom and on his way to the bedchamber. Baek Na-Kyum was slowly accepting his position as Yoon Seungho’s bride, though I have to add that here, the painter was not thinking about marriage yet. During that scene, the couple was rekindling. It was make-up sex. Hence he could only blush. (chapter 71) I can imagine that his heart must be racing as well. Then in season 3, the painter is now seen carried fully naked in front of his sister. (chapter 96) He has no idea that she witnessed their union, but she already knew the true nature of their relationship. However, till the end of season 3, neither Yoon Seungho nor Baek Na-Kyum were even envisioning marriage, this topic was brought up by Bongyong, the witness of the first bridal carry. This is relevant, because we have to judge these bridal carries as a gesture influenced by the main lead’s subconscious. Deep down, he wished to make the painter his bride, but he had never realized it. However, this dream will become a reality, like Byeonduck implied it with this panel: Thus expect new bridal carries in season 4, but some of them will be connected to death, pain and sorrow. 😥 (chapter 66) (chapter 102).

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.