Painter Of The Night/The Pawn’s Revenge: The witch and the lustful spell (part 1)

This is where you can read the manhwas. https://www.lezhinus.com/en/comic/pawn https://www.lezhinus.com/en/comic/painter But be aware that these manhwas are 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 of Painter Of The Night: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/ As for The Pawn’s Revenge, this is where you can read other essays: https://bebebisous33analyses.com/2021/06/06/table-of-contents-of-analyzed-mentioned-manhwas/

Warning: I used the German version Snow White “Schneewittchen” as basis. Hence I translated myself the quotes.

Everything started with this panel: (chapter 22) The protagonist starts viewing himself as the main character from the fairytale Snow White. Hence he comes to the conclusion that since he is Snow White, then there must be a hunter and a witch, the famous stepmother of Snow White. (chapter 22). That’s why he believes that Do Seong-Rok is the huntsman, while Jeon Hee Seong is the witch, because the former didn’t kill him. The former prostitute had planned to get rid of the young man, as he represented a source of danger for her. That’s why she ordered the killing to her lover. Soon after the release, an user asked Evy who was the Prince in this story. The author replied by denying his existence in this story.

What caught my attention is that there are more references of Snow White in this manhwa, like for example the presence of the shared apple. (chapter 24) Thanks to The Pawn’s Revenge, I came to recognize that even Painter Of The Night has so many common denominators with this fairytale. (chapter 23) That’s the reason why I decided to compare the two manhwas with Snow White. This means, I’ll also explain why they diverge. But for that, it is necessary to explain the fairytale Snow White and its functions.

1. The fairytale Snow White and its purposes

Actually, the focus of this fairytale is the daughter-mother relationship creating some rivalry and jealousy. Though there exists so many stories about this topic (for more read this article https://news.harvard.edu/gazette/story/2020/07/the-tale-of-snow-white-and-what-the-various-versions-mean-to-us/), only two are famous, the fairytale written by the brothers Grimm (19th Century) and the version from Walt Disney, “Snow White and the 7 Dwarfs” (1937).

1. 1. Grimm versus Walt Disney

But the famous psychologist Bruno Bettelheim, who considered tales as very important for the child’s development, looked down on the version from Walt Disney calling it “empty minded entertainment”, as the creators had modified too much the Grimms’ story to the point that it had softened and robbed the meaning of this fairytale. Why did he say that? It is because the darkness from the Grimms’ version had totally disappeared. The stepmother in Walt Disney’s version doesn’t eat the lever and lung of a boar boiled in salt in order to keep her beauty, or she doesn’t asphyxiate Snow White with a lacing strap. The jealousy had turned into more in a rivalry and competition because of beauty. Besides, the movie focused on fated love too, for the prince met Snow White as a child. As you can see, the prince plays a bigger role in the movie. For Bruno Bettelheim, only the Grimms’ version is the true one, as it truly deals with the oedipal complex.

The oedipal complex is when a young daughter feels jealous of her own mother, she is unconsciously attracted to her father. But since having such feelings is forbidden, she projects her own jealousy onto her mother. That’s why the daughter feels that her mother is jealous of her. The darkness from the child is now personified by the “mother”. I need to add that the German authors turned the mother into a stepmother in the second version. For Bettelheim, the fairytale helps a child to overcome the negative emotions (oedipal complex, jealousy, rivalry), it also helps him/her to understand the world around by giving him/her a meaning to life. Furthermore, it explains to the young daughters the future transformation unconsciously: it announces the adolescence and adulthood through sexuality. We have to imagine, when Snow White lives with the dwarfs, she is protected growing up in an environment free from sexuality. So when the Queen offers the apple and both are eating from the same apple, Snow White discovers sex and temptation. The apple is a reference to the bible. And now, you comprehend why I choose such a title. The Queen is a witch introducing Snow White to sexuality. As you can see, Bruno Bettelheim judged the fairytale from the point of view of a psychologist. Yet what he failed to realize is that fairytales have other functions.

1. 2. Fairytale and History

First, fairytales were not written for just children, but also for grown-ups. They were supposed to teach lessons to the adults.

They were meant to entertain adults while they were spinning, sewing, repairing tools, and doing chores late at night. John Updike tells us that fairy tales were the television and pornography of an earlier age, and a story like that is revelatory about the true uses of enchantment.” quoted from https://news.harvard.edu/gazette/story/2020/07/the-tale-of-snow-white-and-what-the-various-versions-mean-to-us/

How to deal for example, when a lord betrays or abandons a servant? Here, I would like to outline that the notion “family” is strongly connected to the house, and as such a household including the staff. Imagine that Snow White is a maid. Remember that the Queen acts as a lord, the head of the house, so when she orders Snow White’s execution, the young girl can only escape from this terrible fate thanks to the hunter’s fake generosity. This story shows that a servant or even daughter has no right, the lord can do whatever he wants. He won’t get sanctioned. And this remark leads me to the following statement. Bettelheim didn’t recognize that fairytales actually reflect history and the society of their period.

And now, you comprehend why the Disney version was less brutal, more romantic and the Dwarfs were portrayed as rich but hardworking miners. When the American author released the fairytale, marriage in America is associated to love. There exists the myth about fated love too. In addition, American society is promoting free market economy and hard work: American dream. Therefore we see the Dwarfs working so hard in the mine while singing. In the other version, it is just said casually. The parents are supposed to protect their children from any kind of violence, the children have even rights. Consequently the cruelty was removed. Moreover, motherhood is considered as sacred, while in the past, it was different. In the 18th Century and even before, parents didn’t ponder on how to raise their children properly. There were neither psychologist nor pediatrician nor educationalist. The children just needed to learn how to act and dress according to their social status. They were treated like small adults. However, slowly from the end of the 18th Century on, government and as such society started perceiving children differently, as a tool for their own politics. Napoleon created lycées (high schools) in order to increase his army. He promoted education, while in truth he misused it for propaganda and indoctrination. My point is that when the brothers Grimm published Snow White, people treated young children differently than in 1937 in the United States. In Germany, adults used fear to control the children!

Die gar traurige Geschichte mit dem Feuerzeug von Heinrich Hoffmann
This is a story from the Struwwelpeter written by Heinrich Hoffman. As you can see, the girl plays with the matches. Her disobedience leads to her death. She gets burnt. The lesson is that if you should listen to your parents’ words because if not, you can die. These lessons are quite gruesome but reflect the mentality of that period. Fear is used as a tool to get submissive students.

Secondly, violence was a way to expose the children to the brutality of their world (there were many revolutions in Germany in 19th Century). But there’s more to it. And we have a proof that Snow White from the brothers Grimm reflected the society of the 19th Century: the presence of a lacing strap.

But the old woman quickly laced and laced so tightly that Snow White lost her breath and thought she was dead.”

It was a reference to the corset. Young girls would try to lace their corset so tight that they could faint. This was one of the lessons in Snow White: “Don’t lace the corset to tight, because you could have the same fate than Snow White!” This explicates why Walt Disney didn’t include this scene in his story. The corset had vanished from fashion a long time ago. How did I realize that old fairytales are a mirror of the past? It is because when I was a P. A. of a History professor, I was asked to translate his essay about the definition of House and Foreign in late Middle Age and early modern times, and he used the fairytale “Town Musicians of Bremen” from Grimm as an example. The servants were indeed part of the House, once they were old, they would be thrown out of the mansion. The house was a synonym for family, like I mentioned above. During the Middle-Age, European cities, like Bremen, became more and more powerful leading to their emancipation from lords. Bremen like other cities became independent, hence the city councils could hire hire their own musicians. Though this fairytale was written in the 19th Century, it let transpire the social norms and mentality from a previous period. That’s why I came to the conclusion that Snow White must also reflect society from the 19th Century. I could give you another example.

In the Grimms’ version, the presence of sexuality was hidden, because it was symbolized by the apple. Since religion occupied a huge place in the 19th Century, people knew the bible. Consequently they could comprehend the message. But the moment Snow White ate the apple, she discovered sex. But note that she fell into a deep sleep right away. Once she woke up due to an accident occurring during the transportation of the coffin, Snow White had already found her husband, the prince. The latter had selected her as his bride, as he couldn’t forget her. The prince had even asked for the dwarfs’ permission.

Then he said to the dwarves, “Let me have the coffin, and I will give you what you want for it.”

In other words, this fairy tale was promoting marriage of convenience and the interdiction of sex before marriage, while in the Disney version we have the opposite message. Since the prince kisses the protagonist, before he marries her, it implies that sex can occur before marriage.

Thus even if I consider that The Pawn’s revenge and Painter Of The Night are new versions of Snow-White, they can only be different. Now, sexuality, sexual education and homosexuality are no longer a taboo. That’s the reason why there is no hidden message concerning this topic. As a conclusion, the stories will reflect Korean society or modern society as such. The stories will teach lessons to the readers and give meaning to their life, but only if they decide to ponder about these stories.

This truly exposes that Grimms’ and Walt Disney’s Snow White is just a mirror of the past. But don’t get me wrong: these fairytales are still useful. First, like Bruno Bettelheim, they help children to forge their own identity and to navigate in the world as moral compass. Since the characters are black (evil) or white (good), the children can easily differentiate between right and wrong. Simultaneously, the fairytales prepare them to recognize that reality is more complex. We have the perfect example in Snow White (Grimm) with the huntsman.

1. 3. The lesson taught by the huntsman

It seems that people only remembers him as a good-hearted man, as he had pity and disobeyed the Queen’s orders. But what many don’t know or overlooked is that the huntsman embodies cowardice and selfishness. In truth, he is just a weak-hearted person and a hypocrite.

“And because she was so beautiful, the hunter took pity on her and said, “So run along, you poor child!” The wild animals will soon have eaten you, he thought, and yet he felt as if a stone had rolled from his heart, because he did not need to kill her.

He acts kind and benevolent in front of Snow White, while in reality he envisions that she will die. At no moment, he wants to save her. She survives, because he doesn’t want to feel guilty and fate is on her side. This means, he just refuses to become responsible for her death. Others will do it for him. That way, his Queen won’t notice that he disobeyed. And notice that the moment the stepmother discovered that she had been played, the huntsman’s disobedience was not punished. Why? It is because she didn’t discover it right away. She ate the lung and lever believing that these were the parts of Snow White.

As you can see, the fairytale was teaching the meaning of fake kindness, cowardice and hypocrisy. But the irony is that in the latest movies, the huntsman was turned into a hero! In addition, it also exposes the “powerlessness” of the Queen. The huntsman could fool her due to her obsession. Simultaneously, it teaches that disobedience doesn’t lead to a death sentence. Here, I would like to point out that after the end of World War II, many German soldiers or guards from camps of concentration claimed that they didn’t dare to disobey. They just followed the orders they had received as a justification for their misdeeds. The reality is that it was just a myth. Historians could prove that no one got executed or no one was forced to become a guard in a camp of concentration.

1. 4. Definition of a fairytale

Because of these parallels between The Pawn’s Revenge, Painter Of The Night and Snow White, I wondered if the manhwas could be considered as fairytales. The presence of violence or sexuality can not be judged as evidences that they can not be fairytales, for they are considered as old form of pornography, destined to adults too. So what is the definition of fairytale?

The story must contain the following elements:

  • The presence of magic and supernatural beings: witch, animals acting like humans, fairies etc.
  • The characters are seldom given a precise identity. The characters are portrayed very briefly. They are associated to features, like for example, the Queen embodies vanity, superficiality and jealousy.
  • The existence of trials, the heroine has to go through different bad experiences in order to grow and mature.
  • The place and times: They are usually not defined in order to give a timeless dimension.
  • The ending: People usually think that all the fairytales have a good ending, but this is not true. The fairytales from Andersen (The little Mermaid, the little Match girl) have often tragic ending.

According to this definition, The Pawn’s revenge can’t be considered as a fairytale, for there is no magic. But I would like to point out that The Pawn’s revenge still contains some “supernatural elements”. Lee Je-Oh compares the serial killer to a grim reaper (chapter 1) or a god. Then the characters are often associated to animals: dog, mutt, snake, horse, pig, elephant, chicken (chapter 2). Furthermore, the figures in this story are perceived as living pawns of Janggi. (chapter 12) Finally , I compared Jeon See Heong to a mermaid (chapter 6) bewitching her prey. On the other hand, the figures have a precise identity. The time and the place are quite defined. As for Painter Of The Night, it looks like the same. We know the birthdays of Yoon Seungho and Baek Na-Kyum and there’s no magic or supernatural elements. Yet, we sometimes see the presence of magic and a lustful spell. Imagine, in this scene we have the impression that the painter’s spirit summoned the Ghost Seungho to approach him. Striking is that this repressed desired got fulfilled. While he had his eyes closed, the lord approached him. Another positive aspect is that the time and space are not defined. It’s just Joseon period, but that’s it. The mention of Hanyang can not be seen as transgression, because remember that there exists the fairytale Town Musicians of Bremen. The town has no name. Byeonduck said that her manhwa was not a historical story, but she found her inspiration in History. Besides, the trials of the two protagonists are more in the center, while Lee Je-Oh and Do Seong-Rok have already struggled, before the story starts. Consequently, Painter Of The Night resembles a lot more to a fairytale than The Pawn’s revenge, though the sentence “once upon a time” is missing.

On the surface, this comparison seems pointless, yet I wanted to expose that these stories might not entirely correspond to a fairytale, they still resemble to Snow White. Just like the fairytales, the manhwas can have a deeper meaning, for they serve the same purposes: Teach lessons to adults, incite the readers to question their own society and social norms, develop a better understanding of psychology, encourage them to become more committed, less indifferent to injustice, more thoughtful and not judge people too quickly.

1. 5. The ingredients of Snow White

In order to be able to contrast the stories to the fairytale, it is necessary to list all the elements present in Snow White from the brothers Grimm. Besides, this version resembles more to the manhwas due to the sexual content. Seduction and temptation are more obvious. Nevertheless, I will not just list the characters and the relevant items present in the fairytale, but also the topics while giving some explanations:

  1. The 7 Dwarfs: owners of mines
  2. The presence of a witch (The Queen as the stepmother in the original story)
  3. The huntsman
  4. Snow White: Dark hair, white skin and red lips.
  5. The prince: a symbol for marriage
  6. The mirror of truth
  7. Arrogance and vanity: She keeps looking at her own reflection in the mirror. She feels entitled to be the most beautiful.
  8. Hidden fears and anxieties: The Queen still doesn’t believe her own eyes, hence she needs a confirmation from the mirror of Truth. In reality, the mother is full of insecurities, that’s the reason why she desires a confirmation.
  9. Reflection and critical thinking: She doesn’t ponder about the reason why the mirror of Truth is telling her that Snow White is more beautiful. She doesn’t distinguish between seeming and being.
  10. Jealousy and rivalry
  11. Oedipal complex
  12. Guilt and responsibility: Because the hunter didn’t want to feel guilty, he refused to follow the order. Yet he didn’t save her as well. Notice that the stepmother and the hunter desired to put the responsibility on others. The Queen blamed her step-daughter for her failure, whereas the huntsman desired to delegate the dirty work to others (animals). Both showed no true remorse in the end. The Queen failed in her quest, because she never reflected on her own actions. She is definitely responsible for her own failure and misery.
  13. Loyalty and betrayal: While the Queen betrays the daughter, the huntsman does the the heroine and the Queen. He is only loyal to himself and his own interests. Despite the discovery of the scheme, she doesn’t punish him, she vents her anger on the protagonist. On the other hand, Snow White still has a good impression of the huntsman.
  14. Neglect: the father seems inexistent and he doesn’t intervene.
  15. Obsession and blindness: The Queen is determined to become the fairest that she doesn’t understand what the mirror of Truth is telling her. She misunderstands the message: the mirror of Truth is telling her that “Schneewittchen” has the better personality. She is a 10000 better than the Queen, as she is more kind and selfless. The Queen doesn’t recognize her true personality.
  16. Abandonment: Notice that Snow White is sent away to woods in order to get murdered. This gesture symbolizes abandonment and betrayal. But the Queen is not the only one to blame. The father doesn’t seem to miss her disappearance as well. He neglects and abandons his daughter.
  17. Selfishness and fake altruism
  18. Death and murders
  19. Hypocrisy: Snow White never discovered the huntsman’s true personality.
  20. Cowardice
  21. The presence of justice and injustice: While the huntsman escaped a punishment, the Queen was sentenced to death: “Iron slippers had already been heated over a fire, and they were brought over to her with tongs. Finally, she had to put on the red-hot slippers and dance until she fell down dead“. This means that the real perpetrator was only caught many years after the crimes. And it is, because the huntsman had told her what the Queen had ordered him to do. She relied on his testimony. But the protagonist never discovered the true thoughts of the huntsman. Yet, like I mentioned above, the hunter was not innocent. He might have committed no big crime towards Snow White, yet he was definitely a sinner and had not a good heart. According to our actual laws, the huntsman has perpetrated a wrongdoing: non-assistance of a person in danger. The moral of this fairytale is that true justice will never happen immediately or even worse: there exists no real justice.
  22. Ambition and Greed: Her quest to be the most beautiful exposes her greed. In fact, her fight is pointless, as she can’t fight against aging. She is already doomed to failure.
  23. Unconscious/conscious: Here, I would like the readers to keep in mind that according to Bruno Bettelheim, the fairytale was speaking to children’s unconscious, while the adults can learn lessons from this story consciously.

And now, it is time to analyze how similar the manhwas are to Snow White.

2. The Pawn’s revenge

As this essay is already long and to outline the similarities, I will put the common denominators to bold. Simultaneously, I will follow the list developed above by examining the main figures.

2. 1. The 7 Dwarves

Since the 7 Dwarves are owners of mines and seem to be very rich, I couldn’t help myself connecting these supernatural creatures to the following characters: Contrary to the fairytale, they embody not innocence, generosity, selflessness and chastity, but the opposite: sex, hypocrisy, corruption, selfishness, ruthlessness and immorality. They are not owners of mines, but they possess brothels which reminded me of chicken farms . They don’t live surrounded by nature and among animals, but in the city. The animals are the humans, they are treated like chickens. In other words, they stand in opposition to the dwarves of the fairytales: corruption, urbanization, poverty and misery. They don’t work themselves, but let others work for them like slaves. Yet they act, as if they were normal citizens abiding laws. This explicates why Ma Jong-Seok hides his affection from Snow White. He can’t be labelled as homosexual. The dwarfs, associated to different vices, symbolize the negative aspects of free market economy and the problems, when the government is not strong enough or too corrupt to stop such an evolution. I could even say, we have here the negative reflection of Snow White and the 7 Dwarves from Walt Disney. Motherhood is no longer sacred, the kids are exposed to any kind of abuse. Snow White is now held captive in the mansion of the dwarves! He is exposed to exploitation, the perverted version of Grimes’ version. In the fairytale, the young girl was supposed to take care of the house in exchange of protection, here we have the opposite: Enslavement. The male prostitute has no choice. But what they didn’t realize is that the witch would betray them. Hence I consider the apple as the tool the witch used to get rid of her rivals! The fruit served as a diversion, she was busy listening to their affairs so that she could develop her plan to climb the social ladders.

2. 2. The witch

Since Jeon Hee Seong was the one who introduced Do Seong-Rok to sex, she can definitely be seen as the witch and evil queen. She seduced him with her experience and insight. She could read him like an open book. She knew that he was so pure and innocent, hence she compared him to a lamb. Her resemblance to the evil mother explains why she is seen with the apple. However, unlike the fairytale, the fruit doesn’t symbolize sexuality, but betrayal. She is actually spying on the boss of the red light district and his minions. She behaves exactly like the Queen, as she is not longing for warmth and love. But her wish is still different, as she wishes power and wealth. Yet, they resemble each other, as both felt somehow powerless. In the fairytale, the absence or passivity of the king, Snow White’s father, gives me the impression that the evil Queen could have been a neglected wife, and the lord selected her as his new wife, out of convenience. He needed to have a wife by his side, and couldn’t remain as a widower. She was treated like a trophy explaining his absence. But because he married her for her beauty, it signifies that she had no power. Her appearance was her source of strength, and now you comprehend why she became obsessed with her image. If she lost her beauty, she would become even more powerless than before. She had nothing else to do. Jeon Hee Seong was forced to marry Choi, and while the Queen from Snow White was neglected, the witch was abused by her husband. So both were unhappy in their marriage and life. This explains their desire to get power in their own way. As the manhwaphiles can detect, both witches have something in common: ambition and greed, though Jeon See Heong uses her beauty differently. She is aware of her own attraction and has no fear or insecurities. She doesn’t need a mirror to tell her how beautiful she is. Her body is her tool, not the mirror. Yet both have another aspect in common: they try not to do the dirty work themselves. Both hire a killer, the only difference is that due to the huntsman’s betrayal, the Queen learned her lesson. She had to do it herself, if she wanted to get rid of her rival. And this leads me to the following observation. The witch from The Pawn’s revenge has two reasons to use others for her dirty work. First, she is no queen, hence she could get charged with murders. Secondly, if we use the fairytale as a parallel, she could have a similar mindset than the huntsman. She doesn’t want to feel burdened by guilt, notice that she is never facing the consequences of her order and decisions. She didn’t see the corpse of her dead husband and the gambler Lee Soon-Cheol. She just communicates through a cellphone. Besides, even Do Seong-Rok felt uncomfortable after killing two people. Hence I perceive Jeon Hee Seong as less bloodthirsty than she appears to be. She could be more of a coward.

On the other hand, in the manhwa the witch is still relying on her lover, Do Seong-Rok. She got angry, when she realized that he had disobeyed her and let him become responsible for Lee Je-Oh. However, it is just a matter of time, until she gets aware that Do Seong-Rok is no longer bewitched by her. In chapter 26, he can no longer have sex with her. Hence we have a parallel with the fairytale: the allusion of aging and change. The woman is no longer attractive to him, because he has perceived her true nature. She manipulated him and he got aware that she was fake. With this, we would another similarity with the fairytale, the distinction between seeming and being. He realizes, that her promises were all an illusion. In this scene, the manhwaphiles can sense her witchcraft.

And since Jeon Hee Seong has already chosen Ahn Jae Oh as her official partner due to his social position, it becomes understandable why her relationship with Do Seong-Rok was doomed to failure. I would say, since the police officer is on the verge to become a congressman, the protagonist could only appear weak to her. His strength were his loyalty and blinded trust. Consequently Ahn reminds me of the king from the fairytale, while I perceive Do Seong-Rok not just as the huntsman, but also as a second Snow White. First, he had dark hair and a white skin like the protagonist. Secondly, he was as pure as Snow White. But since he was neglected and had abandonment issues, he longed for maternal warmth and love. In the Korean version, we see his father promising to come back, an indication that he had no mother. Hence I judge, Do Seong-Rok’s relationship with the witch was a form of an oedipal complex. She served as a surrogate mother, that’s how much he longed for a mother and family. The manhwaphiles will realize the common denominators: neglect and abandonment perceptible in the beginning of the fairytale. Secondly, note that Do Seong-Rok had changed the color of his hair, when he met her again. That’s why I deduce that the card she gave him should be perceived as the apple from the fairytale. (chapter 16) With her appearance, her words and this card, she casted a spell on him. That’s why he was so full of lust during their second encounter. The red hair could be judged as the indication of the lustful spell. Simultaneously, this color implies the loss of virginity and the beginning of adulthood. The most fascinating is that in the bedroom, two colors are prevailing: red and white, which coincidences to the red and white side of the poisoned apple from Snow White. The witch’s beauty was so strong that he had to transform himself. (chapter 16) This was his desire to resemble her, to get closer to her. Since he was a man, the witch didn’t see him as a rival. This explicates why she didn’t feel jealous at all. But for me, there’s no ambiguity that she filled the void left by the missing mother. Hence, since he was having sex with a surrogate mother, this can not be considered as the real discovery of sex. I conclude that when he met Lee Je-Oh, he discovered real sexuality. That’s the reason why he can no longer have any erection with the Queen. If we judge The Pawn’s revenge as a fairytale, then it teaches, homosexuality is a normality. He didn’t know about this, until he saw the male prostitute having sex with the pimp and felt aroused.

Moreover, by sleeping with him, Jeon Hee-Seong somehow committed a sin. Let’s not forget that she was already married. The woman embodies evil, for she promotes cheating, betrayal, murder, selfishness and avidity. Her ambition is to become the Queen of the red light district. This means, the readers are witnessing the raising of the evil mother, who is on the verge of becoming the Queen! But due to her greed and ambition, she doesn’t realize her own blindness. Her arrogance makes her overlook the male prostitute, Lee Je-Oh. She trusts too much her beauty, and believes to be smarter than others. Thus her arrogance is the reason why she will fail in the end. She showed her true face to Do Seong-Rok too soon, when she showed her anger, because the huntsman had disobeyed her order. The man could see a glimpse of her true personality. Due to his past experience, he had learned his lesson. In addition, she is underestimating the power of love. Thus she had planned to betray and abandon her lover, but she doesn’t anticipate the killer’s betrayal. Exactly like the stepmother, she is not reflecting on her own actions. She didn’t pay too much attention to her words over the phone and the consequences. The absence of critical thinking will be another reason why she is doomed to fail: too obsessed to reach the top. She has the impression, she is almost there, the presence of the ring offered by Ahn is the proof of her success. And now, you can see why I saw so many parallels with the fairytale.

2. 3. Snow White and the huntsman

Naturally, this is not surprising that Lee Je-Oh considers Do Seong-Rok as the huntsman. The latter’s actions resemble to the ones from Snow White. Yet, unlike the hunter, the red-haired man has not a weak heart, but a good heart. He is not a coward or a hypocrite. He can feel pity, and doesn’t fear to dirty his hands. On the other hand, he has nightmares, as his unconscious is telling him that he made the wrong choice. And in this scene, we have the presence of conscious and unconscious. He shouldn’t have listened to his lover’s suggestions, but he is still in denial. That’s the reason why he keeps starring and looking at the letter with a fake confession. Hence I believe that contrary to the hunter, he feels some remorse, as he senses that he has been tricked. In my opinion, by sleeping with her, Do Seong-Rok got tainted by her darkness. This explicates why when he strangled Ma Jeong-Sok, he had an erection. And remember that in the Grimms’ version, we had the presence of a lace in connection to Snow White. And this reinforces my interpretation that the killer is actually more a combination of both characters: the huntsman and Snow White. He has become the “perverted version” due to the Queen’s influence, he is her step-son. Striking is that Lee Je-Oh is giving him another interpretation of his wrongdoings: he liberated him from his prison and misery.

2. 4. Snow White and the mirror of Truth

Since Jeong Hee-Seong resembles a lot to Lee Je-Oh, he appears to be indeed the real Snow White. Exactly like Do Seong-Rok and Snow White, he has dark hair, a white skin and red cheeks. Moreover, similar to the Grimms’ version, the main lead has been neglected and abandoned by his father.

Their fate seems similar, yet there is a huge difference. The male prostitute learned not to rely on others. When he tried to free himself, he didn’t ask for help, he stabbed Ma Jong-Seok himself. However, he was encouraged to use the knife by the witch, that’s how he discovered her true personality. Her beauty can no longer bewitch him. Striking is that he could already perceive her true personality, even before knowing her true identity.

In my opinion, Lee Je-Oh is actually a combination of the mirror of Truth and Snow White. Through his comments, he is confronting Do Seong-Rok and forcing him to reflect on his actions, questioning his relationship with the witch. But notice that he has a similar attitude with other characters. He confronts Choi Yeong-Gil with his hypocrisy and negative attitude. Just before the pimp is killed, he confronts him with his true personality and sins. He is responsible for the misery and death of many people. Once cornered, the “dwarf” is forced to confess his affection to Lee Je-Oh. Both dwarves had something in common: hypocrisy. Hence you can comprehend why I come to the conclusion, Lee Je-Oh is the mirror of truth. He embodies honesty and loyalty, just like the protagonist, he longed for a home and family.

Hence the huntsman’s “jail” corresponds more to the house of the dwarfs from the fairy tale. It’s the place where love, trust and innocence are protected. Since I have already predicted a revolution, I believe, Lee Je-Oh will give another sense to Do Seong-Rok’s murders. They will try to destroy this corrupted world full of selfishness and greed. That’s how Lee Je-Oh will become the witch’s rival. He will ruin her plan due to his sense of justice. The manhwaphiles will certainly remember that the fairytale is centered on jealousy, rivalry and competition. The young boy was already jealous that he felt the need to steal the killer. Right after having sex with him, he considers Do Seong-Rok as his boyfriend. He compliments him and caresses him, giving him the warmth and affection the killer had been longing.

What also caught my attention is that both Snow Whites are “corrupted”. While the one kills, the other lies, schemes and steals. This stands in opposition to “Schneewittchen” from the Grimms’ version. It is comprehensible, because both protagonists got tainted by their parents. Lee Je-Oh’s father was selfish and had no sense of responsibility, while Jeon Hee Seong desired to use the main lead’s weaknesses (isolation, lack of experience and innocence) to her advantage. This signifies, both are the products of bad parenting and a ruthless and selfish society. So if the two Snow Whites start working together and keep killing others in order to clean society, what will happen to this city? Chaos. But Lee Je-Oh would see it as delayed justice.

2. 5. The absence of the Prince

Why did Evy say that there was no prince in this story? My explanation is the following. Since the prince embodies “marriage” and in South Korea, homosexual marriage is not allowed, there can’t be a prince. Secondly, since I have already portrayed that the two protagonists have two functions, this signifies that both could also be perceived as the prince. They both free each other, as they give each other what they need. In the episode 27, Lee Je-Oh decided to lie to Kang Hyeon-Jong in order to protect his lover. He gave him an alibi and used the video as an evidence. This means that from now on, he is now responsible for Do Seong-Rok, just like the latter is now accountable for Lee Je-Oh’s survival. And since there’s no justice in this world, I believe that the prostitute Snow White will take matters into his own hands and give justice to others. Remember that Snow White sentenced her stepmother to death! This signifies that she gave justice herself.

As a first conclusion, though The Pawn’s Revenge doesn’t correspond to the definition of a fairytale, the manhwa and Snow White are really similar due to the topics and characters. It truly shows that such stories are a great source of inspiration. Then the readers should question themselves why the city and its inhabitants are portrayed in such a negative light. From my point of view, it is related to the huge political scandals South Korea had to face like for example with the president Park Geun-hye, and the economical boom with the development of new districts which doesn’t lead to a diminution of poverty. Then, there was the Sewol ferry incident, where many students died, while the captain and the crew abandoned them. This terrible event caused a huge mistrust in the authorities and the adults’ hypocrisy and selfishness. As the manhwaphiles can detect, I view this story as a mirror of our modern society: the failure of parents as role model, the disintegration of families… Simultaneously, it teaches the same lessons: recognize hypocrisy, selfishness and the importance of reflection. Lee Je-Oh could become the killer’s ally, the moment he recognized his own mistake. He imagined his intelligence made him superior, he underestimated the huntsman’s strong will. He might have felt pity, but he was not a fool, rather a dangerous man because of his strength. He mistook his innocence for stupidity. That’s why Snow White is superior to the witch.

As you can imagine, I won’t write the comparison with the Painter Of The Night here, for the analysis is already so long, however I would like the readers now to ponder on the following question: Who is the witch with her lustful spell, Snow White, the mirror of truth, the 7 dwarves, the huntsman and the prince in Byeonduck’s work?

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: “Secrecy and perpetrator” (third version)

This is where you can read the manhwa. https://www.lezhin.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 order to escape accountability for his crimes, the perpetrator does everything in his power to promote forgetting. If secrecy fails, the perpetrator attacks the credibility of his victim. If he cannot silence her absolutely, he tries to make sure no one listens.” ― Judith Lewis Herman, Trauma and Recovery: The Aftermath of Violence – From Domestic Abuse to Political Terror

After reading this quote, it becomes understandable why Yoon Seungho not only repressed his first rape, but also was encouraged to forget it and to live with memory loss. The manhwaphiles could witness how Judith Lewis Herman’s quote was applied right after the sexual assault, when the butler made sure to attack Yoon Seungho’s credibility. He tried to silence the main lead with guilt and fear. Note how the poor boy has to beg for the servant’s mercy, which reminds us of the physician’s reaction in the same chapter: Both characters are grabbing the valet’s clothes. This exposes that both were put in the same situation: their innocence and ignorance were used against them, making them speechless. However, Kim was not the rapist himself, he was just the helping hand of the perpetrator. [Imagine how my first essay about Kim “The helping hand” fits his personality so perfectly, although I had portrayed him in a good light]. I have to admit that after writing the analysis “Interpretation of a nightmare”, I kept thinking about the identity of the culprit.

One might say that the culprit’s identity is now clear. It’s lord Song, especially if the manhwaworms take the following panels into consideration: . However, this is not correct, because Yoon Seungho is suffering from memory loss, hence he can not be connecting lord Song to his first sexual assault rather to the second rape and betrayal. Therefore I come to the conclusion that the main lead and his friend have been misled that only lord Song is responsible for the protagonist’s suffering. That’s why the main lead associates his suffering to lord Song. Yet, he has repressed the first sexual assault in the domestic quarters. (chapter 74) On the other hand, the manhwaphiles should remember how scared Kim was, when he heard about a meeting between lord Song and Yoon Seungho. He definitely didn’t want them to meet for the simple reason that if the main character had encountered his so-called enemy, lord Song could have been able to defend himself and claim that he was not responsible. Since according to my theory, lord Song is the king and has been hiding his identity, it is possible that the real meeting would have revealed the lies told by Kim. But there’s another reason why I am suspecting two perpetrators responsible for Yoon Seungho’s suffering. The manhwaphiles shouldn’t forget that Baek Na-Kyum has attracted the attention of two nobles: the main lead and Black Heart. The former did rape the painter (chapter 25) and the second aristocrat planned to assault the artist sexually too. (chapter 56). So we have two perpetrators in my opinion. There’s no doubt that the main culprit is the king, nevertheless I believe that the first culprit is as guilty as the monarch, for after that incident, father Yoon chose to train his son as prostitute. The manhwaphiles will certainly recall that after the artist’s rape, the scholar brought back the low-born with the intention of treating him as a spying prostitute. (chapter 29) That’s why I came to realize that we should look for two old bearded men.

Besides, since I had elaborated that the man was able to trespass the propriety without getting noticed, it meant that he was acquainted with the mansion and the family. That’s why it can not be be lord Song, because Jihwa only knows his name. In other words, the perpetrator must have been close to father Yoon. Then we have another clue about the rapist’s identity:

He was rather old and had a beard. Because Yoon Seungho was just a teenager, old should be relativized. It just meant that the man was already married and had his own family. Thereby none of the single aristocrats around Yoon Seungho and Min have a beard. They are not married, so they are still considered as young. To sum up, the man with a beard was acquainted with father Yoon, hence he had the opportunity to meet the young prodigy and started lusting after him. And then I had suddenly this revelation. We already met an old bearded man: (chapter 67) Yes, father Lee! 😱 First, Lee Jihwa was a childhood friend from the main lead, which means that father Lee and father Yoon were close. Moreover, the man must have brought his son to the mansion and used this as an excuse to watch the young man from afar. Besides, the second lead is someone who used to sneak in the main lead’s propriety. Let’s not forget that the story keeps repeating itself, hence this means technically that the father could have done the same. He chose to trespass the propriety in order to taste the young man. Like father, like son. With such a description, it signifies that father Leee was exactly like Min, who felt that he had been bewitched by Yoon Seungho (chapter 43) and could no longer resist this temptation. (chapter 56) Hence he asked for Kim’s help. We know for sure that the valet will never defend anyone, only his own interest, because he would like to lead a peaceful life. The problem is that Jihwa was himself attracted to the main lead, and when Jihwa and Yoon Seungho were caught due to an erotic painting [for further details: https://bebebisous33analyses.com/2021/01/25/painter-of-the-night-painting-and-desires-part-2/] , Father Yoon decided to separate the children. (chapter 57) Thus father Lee could no longer use Jihwa as a justification for his visitations. Moreover, it looks like the young boy was imprisoned in the servants’ quarter. Therefore, father Lee had no longer the opportunity to see Yoon Seungho, which is quite similar to Min’s method. The latter used the painting as a reason for his second visit and later tried to engage a discussion with the main lead and the painter because of a painting. Strictly speaking, father Lee utilized his son to approach the protagonist. From my point of view, the culprit is definitely similar to Black Heart, because the latter has the impression that he has been bewitched, that he just needs to taste him and after that, his thirst will be satisfied.

And now with this new theory, we would have explanations to the reasons why father Lee neglected his son. The latter was just using Jihwa to approach the main lead, and after tasting the young man, he had definitely no reason to repeat this, because the young boy didn’t react, like he had envisioned it. The manhwaphiles should recall that The Joker has been eyeing the painter because of his facial expressions and gaze oozing purity and attraction. (chapter 33) So it is definitely possible that father Lee was attracted to Yoon Seungho’s face. But the rape triggered the opposite reaction in Yoon Seungho. Hence the culprit’s lust vanished. And this would represent the only divergence with Min, for the latter was not bothered by Baek Na-Kyum’s shocked expression with the kiss. Moreover, the enemies and betrayers are often the one closest to the main characters, see for example the scholar who backstabbed and abandoned Baek Na-Kyum on many occasions. Kim did the same to his master Yoon Seungho. He even created false memories. Moreover, we have Heena who hurt her brother through her words and actions, just like Jihwa did to his childhood friend. The two characters wounded the protagonists out of love. So why not father Lee betraying his acquaintance, the eldest master Yoon?

Moreover, if you pay attention to father Lee’s reactions in chapter 67, you’ll notice three important aspects. First, he is shaking out fear. This can’t be explained with the presence of the sword, for the main lead had already stated that he wouldn’t cause too much trouble and the head of the family was not the target. Yoon Seungho was even quite respectful towards father Lee. One might say that he was shaking out of anger due to the uproar. However, the father even yelled before. Moreover, his discomfort kept increasing despite the calm words from the main lead. First, a drop of a sweat appeared on his face, then his face was getting redder and redder. At the end, he was even trembling. Both are a sign of fear and embarrassment. Why? My theory that he is the rapist could give the explanation for such a reaction.

On the other hand, one could argue that Yoon Seungho mentioned the presence of old bearded men, indicating that father Lee couldn’t have been alone. Yet, the readers shouldn’t forget that in the rape in the shed we had another person involved: Kim. And the man is also an old bearded man!

Imagine that after so many years, the main lead faces his rapist and it is definitely possible that he could remember the incident. When father Lee heard about the main lead’s barging, he just rushed to his son’s side without thinking, yet once meeting each other, he is reminded of his own crime. We shouldn’t forget that Kim had also repressed the rape, but he was reminded, when he saw Baek Na-Kyum and Yoon Seungho having sex in the shed. The father could have a similar reaction. He had totally forgotten the incident, until he saw his face again. What caught my attention is the following panel: How could the protagonist sully the Lee family name any further? This means that there could be more than the ruckus he created. And since the aristocrat spoke before about a business he had to deal with Jihwa, father Lee could have interpreted it differently. It could definitely be related to father Lee’s wrongdoing. Yoon Seungho could reveal the father’s crime. Besides, since the eldest master was well aware of this son’s relationship with the main lead, hence it can not be truly linked to sodomy as such. As for the appearances, everyone in town knew the special relationship between Jihwa and the main lead, therefore it was no real secret. And the manhwaphiles should keep in mind this quote:

“If secrecy fails, the perpetrator attacks the credibility of his victim. If he cannot silence her absolutely, he tries to make sure no one listens.”

Note how the father is trying to destroy Yoon Seungho’s reputation. First, he points out his debauchery, then he describes him as a scoundrel and beast. If he is the perpetrator, then he is definitely silencing the victim by attacking his reputation so that the moment the protagonist remembers, no one will ever believe him. From my point of view, father Lee never met again the protagonist after the rape, as the latter was sent to the palace. The manhwaphiles have to keep in mind that Jung In-Hun witnessed the rape, but he never intervened, as it didn’t serve his interest. Therefore there’s a high chance that father Yoon saw in the sexual assault a new possibility for Yoon Seungho. We should remember that the protagonist was sent to the servants’ quarter, this signified that the eldest master no longer saw any use in the eldest son. He was exactly like a commoner, he had no value. Concerning father Lee, the experience didn’t meet his expectation, hence he left the boy behind and chose to forget his wrongdoing: Out of sight, out of mind. And this explicates why the man could more or less forget his crime. He was one of those, whose feelings would fade away so quickly: Furthermore, by putting the whole blame on Yoon Seungho for his son’s sodomy, it could be his way to avoid any responsibility. He is just trying to wash off his hand, the protagonist was a seductive sodomite right from the start and he is the reason why his son was bewitched later. He is the cause for his “rape” and his son also fell under his spell. The only difference is that Jihwa couldn’t escape from the “witch’s power”, therefore he became a filthy sodomizer.

One might argue that when he saw father Lee, Yoon Seungho didn’t seem flustered or shaken. He was rather calm and had the strength to reply to the lord’s accusation. Thus he didn’t react, like he portrayed himself in chapter 44. However, we shouldn’t underestimate the lord’s fury in that scene. Yoon Seungho was so mad at his former childhood friend due to the abduction, hence his body didn’t react to the presence of an old bearded man. His mind and heart were focused on his childhood friend. Moreover, his statement outlines that he reacts, when he is facing more than one old bearded man. But so far, he only met them separately.

Furthermore, Yoon Seungho’s nightmare only appeared right after meeting father Lee, as the events in chapter 67 and 74 took place during the same day and night. Hence this can not be a coincidence. Facing the perpetrator triggered his memory, thus every incident related to his long suffering resurfaced. However, he still can’t remember the face. He only recalls the hand grabbing him. Nonetheless, his unconscious is telling him that he should remember the culprit’s face. Note that he is here only looking at one person. Besides, since Kim had a brief recollection of the rape just before father Lee’s appearance, it could be perceived as a clue that the culprit had a similar experience. And both tried to repress it. So imagine this: Father Lee used the main lead’s terrible reputation to keep his distance from him, asking from his son to never meet the protagonist in order to maintain their respectability. Consequently, Lee Jihwa had to hide his relationship from his father, but the father didn’t care. He had the perfect excuse to avoid the main lead. However, the real reason for this escapism was the following. He still feared that the young boy could remember, and now Yoon Seungho has definitely power due to his wealth and connections to officials. In addition, the main lead is no longer under the control of father Yoon.

And if this theory is correct, then it means that the moment Yoon Seungho remembers the first rape, he will recall father Lee’s face. Therefore I doubt that the protagonist will remain passive, he will definitely go after the Lee family. Let’s not forget that Yoon Seungho declared to father Lee that he was now responsible for his son, and he could no longer feign ignorance. (chapter 67) In other words, once there’s no secrecy any longer, the lord could retaliate again father Lee and use Jihwa’s misdeeds to punish the father for his crime. And since the father is a coward, he will act like father Yoon, who abandoned his son. Father Lee will turn his back on his own son. The manhwaphiles shouldn’t forget the principle: Jihwa is going to suffer, exactly like the painter and as such Yoon Seungho. Both were betrayed and abandoned by their fathers. In other words, the second lead would pay for the father’s sin, it would be his karma. At the same time he will experience what Yoon Seungho went through, and no longer claim that he truly knows. Envision this: the second lead would be punished for his father’s crime, however Yoon Seungho would use the painter’s kidnapping and Deok-Jae’s death as an excuse for the authorities’ intervention. He might have had a bad reputation, yet Yoon Seungho is a noble and he has definitely some connections to the authorities. Finally, even the noble with the mole pointed out that the artist’s death could have serious consequences. So does this theory plausible or not? One thing is sure: the fathers are portrayed in a terrible light: coward, selfish, hypocrite and stupid… and father Lee is no exception. Hence he could have definitely committed a crime, but as a noble he got away, because for the eldest master Yoon, the protagonist was like a commoner, he had no worth at all. That’s why he lived in the servants’ quarter and received a straw mat beating.

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

Painter Of The Night: The rebirth of the Phoenix

This is where you can read the manhwa. https://www.lezhin.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/

When the lord was dressed with a hanbok with a pattern showing phoenixes, I realized that we would witness the lord’s spiritual death followed by his rebirth. However, I have to confess that I had no idea when it would occur. The only clue I had was that it was related to the low-born’s abduction and planned assassination. Striking is that Jihwa’s nightmare was actually announcing the lord’s spiritual death: (chapter 50). But if you pay attention, you’ll observe that in this terrible vision, there were two dead people: the painter and master Yoon. That’s why both characters had empty gaze. This means that in truth the manhwalovers would assist to two “spiritual deaths”, Baek Na-Kyum and Yoon Seungho’s. But wait… Only the aristocrat was wearing a hanbok with phoenixes, not the painter. But I am certain that the painterofthenight lovers will recall the robe the lord covered the commoner with in chapter 45: Baek Na-Kyum was linked to cranes. Therefore, this signified that the painter’s death would be different. Note that the artist’s head is bleeding just like his body indicating that there’ll be a real transformation. My explanation is that he is supposed to come back to life as a crane. This beautiful bird means good fortune, happiness and longevity. I am quite sure that my readers remember the analysis about the animals embodying the two protagonists. Back then, I had explained that the lamb represented Baek Na-Kyum perfectly: innocence and purity, but this animal is also associated to sacrifice and selflessness, because in Christianity, the lamb represents Christ as both suffering and triumphant. And now, you understand why Byeonduck made the painter suffer so much. Moreover, the artist is also associated to the butterfly and the latter is also a symbol for rebirth. My interpretation is that Baek Na-Kyum will transform into a crane, hence there’s blood on his head and body. He will get a new identity. Furthermore, I had elaborated that all nobles were represented by birds: Jihwa imagined himself as crane, while in reality he was a pheasant(chapter 41), Jung In-Hun was a peacock, Min a crow and finally Yoon Seungho a Phoenix (although in that essay I had imagined, Yoon Seungho was an eagle). And this final transformation occurs, when the lord calls him: The moment he is perceived as a noble, he becomes a crane.

With this new interpretation, I recognize that the main leads made a similar experience. I have already developed the theory that both protagonists mirror each other, hence they are so fascinated by each other and help each other. Therefore, if the lord is supposed to die spiritually, the artist has to go through a similar process. And it is time to ask ourselves, when their spiritual death happened? In my eyes, this was symbolized by the painter’s vision: (chapter 66) This was the new version of Jihwa’s nightmare. It looks like the lord is mourning the deceased. The black hanbok with a white collar resembles a lot to the clothes Koreans are wearing at a funeral: black with white stripes. Besides, if I add this panel, the readers will now understand why the noble felt this way. He was sitting next to the painter’s body fearing for his death, hence he was touching his hand . He waited, until he saw the artist opening his eyes for a brief instant. In that moment, the aristocrat recognized that the artist was coming back to life. That’s why he called his name. As you can see, the lord only left his side after making sure that his life was no longer in danger. That’s why the lord has no eye in this scene. That’s the moment the aristocrat dies spiritually. This is not surprising that this dream is framed with black. Moreover, it was, as if there was a black veil covering this vision. However, the protagonists’ death started much earlier, to be more precise, in Yoon Seungho’s bedchamber. Baek Na-Kyum had a flashback and was terrified, hence his gaze was so lost, which damaged so much his lover that the latter had a similar reaction. In my eyes, their empty gazes correspond to these empty eyes from Jihwa’s nightmare: (chapter 50). This explicates why the lord visited the culprit right after the artist’s “death”. At the same time, the lord’s presence was the trigger for Baek Na-Kyum to come back to life. He felt his presence, hence he was confused if what he saw in his vision was a dream or reality. In my eyes, this “dream” is important, as for the first time, his dream is less linked to desires and the future. It is strongly intertwined with the present. On the other hand, these terrible experiences made both main leads realize the importance of their lover in their life. While fearing for his death, Baek Na-Kyum remembered Yoon Seungho’s smile which made him scream for his help. The same occurred to the powerful noble, when he imagined that the painter would die. He thought, he would never be able to see the painter’s smile. There’s no doubt that first the aristocrat blamed himself, until Min revealed Jihwa’s crime. However, for Yoon Seungho, it was enough. Not only he hadn’t believed in his lover’s words, but also he had mistreated him. That’s why in the artist’s study, the lord died spiritually. Due to the gestures, the manhwaworms can feel the lord’s regret and heartache. Consequently the protagonist is holding the artist’s hand. He is admitting his failure as a lord, too blinded by his own emotions, the artist kept his word as requested, even if he was tormented. He showed courage and strength, but also loyalty and humbleness. Let’s not forget that the commoner had asked for forgiveness, although he had done nothing wrong at all. His apology was sincere, and the main character had misjudged it. There’s no ambiguity that while sitting next to Baek Na-Kyum, the noble realized the painter’s true personality. Hence this is not surprising that Yoon Seungho shows such a respect towards Baek Na-Kyum later. In my opinion, when the master arrived in his mansion, he wanted to send away the kisaeng for two reasons. He had seen how weak the painter was and feared that the kisaeng would drag her brother away. We shouldn’t forget how the kisaeng managed her way to reach Yoon Seungho’s bedroom, therefore in his mind, she would act the same way. Moreover, if the painter were to disappear, the noble would never be able to redeem himself. In my eyes, he wanted to make it up to him. However, once he stood in front of the study, he recognized that he couldn’t do like nothing had happened. He heard the artist’s confession which was linked to fear and a certain reluctance to face the lord and his own feelings. Moreover, he realized that he had to respect the painter’s wish, he let Baek Na-Kyum take his destiny in hand. In other words, the dream of the painter presented the lord’s future action and decision. This was his leap of faith, and as such it announced the Phoenix’ rebirth. The moment the master decided to give the commoner the freedom to choose his fate, the artist’s hand would follow his worshipper.

This explicates why Yoon Seungho is so intimidated by Heena, when the latter approaches him. His words might sound confident, yet if the beholders examine more closely these, they will note the presence of a question, exposing the aristocrat’s certain hesitation. The noble is definitely lacking self-confidence due to his recent “death”. But I have to admit that for me, the real rebirth happens in the bathroom. Why?

First, I can’t help myself connecting the bath to Christianity. The baptism is done with holy water. It is supposed to announce a new life as a Christian. Water symbolizes that all your sins are washed away. Your soul becomes pure again. And note that in the tub, the lord is acting very differently from the past. He doesn’t speak well, hence he makes some mistakes, exposing a certain shyness. Moreover, his gestures are so gentle and precise, because his armor melted away. Since water is associated to purification, it means that the bath represents the lord’s rebirth as a phoenix. But because the bird comes back from its own ashes, the animal returns in the form of a baby. That’s why the lord is so innocent and pure from chapter 70 on. First, he plays a prank in the tub. Then in the bedchamber, he decides to switch roles… (role play). Now Baek Na-Kyum is the powerful lord, while he is just his subordinate. Finally, when he sticks out his tongue, he looks and acts definitely like a playful child. This explicates why words can move him so deeply. At the same time, as a new born, this is not surprising that Yoon Seungho lacks maturity. Hence the painter has become the ultimate authority. Let’s not forget that Baek Na-Kyum transformed into a crane, which I associate to tranquility and wisdom. Just like his lover, he transformed into a crane in the tub. Water cleaned his heart and mind for good. This is not surprising that the artist is more mature than his lover. He had a different rebirth, as he reflected on his emotions and thoughts before the baptism. Thanks to Yoon Seungho’s teaching about critical thinking, the artist was able to free his heart and mind from the learned sir, and the baptism marked the final step.

But let’s return our attention to the phoenix. By submitting himself to “lord Na-Kyum”, the lord is implying that the commoner is now responsible for him. This is a new version of chapter 40: , nonetheless there are two huge differences. This time the lord has taken over the scholar’s position. The painter will be responsible for him, and the former will hope to be loved by the noble. This signifies that the phoenix will be able to shine thanks to Baek Na-Kyum. The latter will be Yoon Seungho’s good fortune, just like the lord has become the painter’s good fortune. A phoenix is a mystical and powerful bird, this explicates why the commoner could turn into a lord and as such into a crane.

Some readers wondered why the noble wouldn’t pay attention to the circumstances of the first abduction, and why he wouldn’t anticipate the enemies’ schemes. This is related to the aristocrat’s innocence. Right now, he is like a child, hence he is not focused on the future. As a child, Yoon Seungho is now living for the moment which I can totally understand. Until now, he had been living trapped in the past. With his rebirth, he was able to move on. Yet, he will realize that he needs to anticipate more and make concrete plans for the future, if he wants to protect his lover. However, I would like to point out that he has already prepared the ground. First, he created such a ruckus at the Lees that now, father Lee can no longer feign ignorance. If Jihwa commits another misdeed, then Yoon Seungho made it clear that father Lee will be held responsible for his son’s crime. The phoenix made it clear that out of respect for father Lee, he wouldn’t do more than create a scandal, yet this signifies that if there’s another incident, he won’t be respectful again. In my opinion, it already announces the purge.

As you can see, I perceive that Byeonduck used a lot of references to religion. We have the presence of water and the white bougies embodying knowledge and clarity of the mind. Finally we have an altar: The lord is kneeling in front of his deity, the crane, making amends due to his “sins”. That’s why I am more than ever convinced that Yoon Seungho will create either a painting or a poem for his “god” at some point exposing his love and admiration. He is already treasuring the artist’s tongue and hand, therefore I am expecting him to recognize the artist’s true intelligence. Remember that in the past, he used to call him a fool, from my point of view, he will realize his mistake. Baek Na-Kyum only received a single lesson about critical thinking and he applied it right away. Secondly, he never forgot his “lesson”, as he started reflecting about himself from chapter 46 on (“why”) and he never stopped it. This was particularly perceptible in chapter 70, when the artist remembered his past and realized that he had overcome his trauma caused by Jung In-Hun. Now, he is even applying this lesson concerning others He wants to know his lover’s motivation. Therefore, I come to the deduction that Baek Na-Kyum has matured so much that he will now be able to question the scholar’s words and actions. He won’t be able to be manipulated like in the past.

One of my readers proposed as a theory that the lord would get poisoned and the painter would decide to assume his responsibility as lord Na-Kyum, which would create a conflict between Kim and the artist. Now after examining the rebirth of the phoenix and the crane, I have to admit that her theory sounds more and more possible. Furthermore, this would announce that the painter would be able to defeat Kim and Min’s plan. Let’s not forget that in reality, Min is the painter’s enemy, although the former has developed an obsession for him. Besides, the manhwalovers should recall how Black Heart used the painter to hurt Yoon Seungho, therefore I am expecting that the new version of chapter 53/54 will show us the Joker’s defeat thanks to Baek Na-Kyum.

Under this new approach, the manhwaphiles can comprehend why the noble is listening to lord Na-Kyum’s requests. The crane proved him how brave, mature, strong and loyal he is…. while he was so blinded by his own fears and self-hatred. In his eyes, he is truly superior to him. Simultaneously, it is also understandable why the phoenix has problems to control himself in front of his god. The latter is not a blind and deaf idol who wants to be admired and worshipped constantly without giving anything in return. His god listens to his requests and wishes. The crane is the real god, while Jung In-Hun is a fake one. After examining the rebirth of the phoenix and the crane, my interpretation that Jung In-Hun will become the painter’s rival seems to become more and more certain. However, thanks to the phoenix’s support, lord Na-Kyum will be able to defeat his “learned sir”. Concerning Yoon Seungho, the latter will also have to fight against his own father, and he will definitely defeat and surpass him, since he is a phoenix. This is not surprising that the protagonists fell in love with each other, as their souls are very similar: both are associated to good fortune, which could only make the fathers jealous.

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: “Love💘 , embrace and caress👨‍❤️‍💋‍👨” (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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In my last analysis entitled “The Light in the Heart”, I had portrayed Baek Na-Kyum as someone whose recovery and transformation were completed due to the number of white candles next to the painter’s head. (chapter 70) 3 symbolizes perfection and completion. But I have not entirely explained how the artist could overcome his traumatic past and even find closure. So far, I elaborated that the missing farewells played a huge role in the painter’s trauma, as they triggered his abandonment issues. Thanks to Yoon Seungho’s decision, the artist was allowed for the first time to bid farewell to his noona properly. (chapter 69) But there’s more to it. In my opinion, the physical touch, in the form of caress and embrace, played a huge role in the painter’s traumatic past too. However, before starting to explain this element, I need to elaborate how it came to this.

First, I have to admit that I had problem to discern the true nature of the relationship between the painter and Heena. She is acting like a mother, although the protagonist describes her as his older sister. (chapter 70) Then thanks to my readers @_Winnie_L_ and @AkaiHikariChan who pointed out, the kisaeng is definitely too young to be the mother, I got a new revelation. Since Baek Na-Kyum is a reflection of Lee Jihwa, it means that the commoner was raised by an absent parent too. That’s why we don’t see the head-kisaeng at all. She is also like a ghost, the female version of father Lee. (chapter 67) Thus we have two possibilities. Either the head-kisaeng is someone else and Heena noona took over her role, or Heena noona became the head-kisaeng, but she never claimed Baek Na-Kyum as her son. Thus the painter ended up with a ghost mother. On the one hand, Heena noona acted like a sister in front of him and she requested from him to be called “noona”, on the other hand, she behaved like a mother towards Baek Na-Kyum. Observe that Heena is the only one with a name. The only difference is that the head-kisaeng relied on the kisaengs to raise the low-born, whereas the noble Lee employed his domestics. This explicates why Heena noona started acting like a mother. But this caused her to struggle due to her young age. She was so overwhelmed with this task, that she had to rely on the scholar. And there is a reason why the kisaeng trusted the low noble so much. She was not just blinded by her own feelings (chapter 68). Her decision was influenced by her past experiences and fears. The head-kisaeng judged the learned sir as a good and responsible man. And how could he win her trust? Since the story is constructed like a kaleidoscope, this means, we must have a new version of this during the first season. In my opinion, the scene with the worker is the repetition from the past. (chapter 29) First, observe that the young girl is sitting on the teacher’s lap and the learned sir is holding a book. So if someone saw this from far away, the beholder would think that the scholar is reading the book to the child. It even gives the impression that he is actually teaching the young girl to read. But note that in this scene, the low noble is in reality talking to the commoner. For the young girl, it means that she is forced to sit and do nothing. That’s why she turns her her head to the learned sir wondering what he is expecting from her. (chapter 29) What is she supposed to do? Observe that he replies to her interrogating expression with a smile, yet he doesn’t give her any instruction. I would say, he treats her like a doll. And now, replace the young girl with Baek Na-Kyum, and the latter has to sit there for a while. You can easily grasp why the painter could only fall asleep. (chapter 70) In front of the kisaengs, the scholar created the illusion that he was teaching, while in truth he just saw it as a diversion. This explicates why he utilized this idiom to Yoon Seungho. (chapter 6) Diversion has two meanings:

  1. something that takes your attention away from something else: Shoplifters often work in pairs, with one creating a diversion to distract the staff while the other steals the goods.
  2. an activity you do for entertainment: Reading is a pleasant diversion. quoted from https://dictionary.cambridge.org/dictionary/english/diversion

This outlines that this expression is far from anodyne. While we all associated “diversion” to the second significance, the low noble meant the first meaning. In the past, I used to think that the scholar was hoping for the artist to doze off so that he would spy on the guests at the kisaeng house. He was talking to the noonas with the boy on his lap in the hope to discover “secrets”. However, since I realized that Jung In-Hun was the one who brought the baby to the gibang, he had many reasons to go to the kisaeng house. He could hope to get connection to powerful nobles and even get information. However, from my point of view, since he had entrusted the artist to the noonas, he knew that the gibang was the perfect place to hide secrets as well. Remember that the conversation in this precise chapter was about “secret and protection”. (chapter 29) And now the scene at the kisaeng house can only be perceived in a new light. (chapter 68) Jung In-Hun must have come to an agreement with a rich noble and made a deal with him. The presence of the painter was no coincidence, and it diverted attention from the real target of abuse: Yoon Seungho, who got dragged away. The painter and the other noona thought that Heena had been the victim of violence from a noble, but she was not. She served as diversion. Too blinded by her prejudices and own fears, the young woman wasn’t able to perceive the true nature of the learned sir. While she saw the scholar as a hero, because he hugged the painter and took him away from this terrible place, she never questioned the scholar’s attitude. If he had been a true hero, he would have rescued her and not abandoned her. She never got aware of his betrayal. In other words, the scholar helped to create a secret. This explicates why the learned sir is well aware of the nobles’ fear. In his eyes, they all have something to hide.

But let’s return to our first observation: the head-kisaeng neglected her adopted son, for she was too overwhelmed with the huge responsibility. The manhwaphiles should remember that neglect is a form of abuse and it can lead to the loss of senses. That’s why I described Lee Jihwa as blind and deaf. With this new interpretation, I come to the conclusion that Baek Na-Kyum had the same fate. Moreover, his mind’s eye couldn’t get developed. Due to his abandonment issues, he desired to grant Heena’s wishes. That way, he wouldn’t be rejected. However, this couldn’t fill the void. That’s the reason why Baek Na-Kyum drew a lot of paintings as a child. (chapter 1) Here, the witness was lying, as he was distorting the past, the painter wouldn’t draw erotic pictures constantly. The head-kisaeng didn’t take care of her son and during the day, the noonas were all resting so that the painter was on his own. This panel illustrates the painter’s isolation and loneliness. At the same time, I envision that the scholar visited the kisaeng house during the night so that he could approach the noonas, explicating why the boy would doze off too. Moreover, painting was a way for the painter to cope his loneliness and his loss of senses. As a conclusion, the painter was not only suffering from abandonment issues, but also from neglect which made him more and more dependable on Heena noona and the learned sir.

Yet, this doesn’t end here. Each time, Heena noona was confronted to violence, she sent away the painter. He was not just forced to leave his noona’s side, he had to leave the house as well. He ended up in the countryside (chapter 70) , in the middle of nowhere, surrounded by water and rice fields. While some might view these panels as quite idyllic, I interpret these as the opposite: Baek Na-Kyum had no roots and no roof over his head. He couldn’t even find a refuge, which reminds us of the scene in the first chapter: (chapter 1) This picture exposes the painter’s lack of attachment. He has no home, no wall to protect him… there’s only emptiness surrounding him, which contrasts so much to Yoon Seungho’s situation, who lived in a prison. Hence I understand now why Baek Na-Kyum is determined to remain by Yoon Seungho’s side. (chapter 68) For the first time, he has a room for himself, and even if he is pushed away, he can express his sadness and seek comfort in his room: (chapter 41) and (chapter 52). Note that each time, he was unhappy, he was requested not to cry (chapter 26) (chapter 68: he is sent away due to his tears) (chapter 70) If you pay attention, you’ll notice the only one allowing the painter to voice his wound and to shed his tears is indeed Yoon Seungho. Each time, he desires to know the cause for Baek Na-Kyum’s tears. (chapter 1) The difference is even palpable in chapter 26: He left him some space and time to cry, hence when he returned, he didn’t say: don’t cry. He just makes this comment (chapter 26). And like I underlined it before, the lord is always focused on the reason for the artist’s tears. This led to the confrontation: who is responsible for his heartache? (chapter 26) Sure, in the bathroom, Yoon Seungho is still very rude, however he never employs the negation. Nonetheless, the low-born could never perceive this divergence, as the nuance is not so obvious. This explicates why in chapter 41, the artist misjudged the noble’s intervention. When the latter wanted to see his face and as such his tears, (chapter 41) the former refused to do so, because he anticipated that the lord would ask the same thing: stop crying. However, the master wanted to know the cause for his agony, which is totally different. This scene is really important, because it shows another issue. Baek Na-Kyum was never allowed to cry. His tears were associated to annoyance and burden. That’s why he desired to be left alone in the end. He feared that if the lord saw his tears, he would be requested to stop crying. And this fear of letting his tears coming up explains why the painter hid his eyes with his arm during the physical abuse. (chapter 34) Under this new approach, we understand better (chapter 68) why the lord chose to retreat. Here, the master saw the commoner’s tears with his mind’s eye and realized that he needed to give him some space and time again. But more importantly, he never entered the room, giving him some privacy. He learnt an important lesson here: solitude doesn’t stand in opposition to distance and abandonment. In this scene, Heena noona never requests from the painter to stop crying, she just wipes his tears with her hand and caresses her brother’s cheeks. (chapter 68) In my opinion, she hoped that if he voiced his emotions, he would follow her. She had an interest in this, that way she could express her disapproval and use her authority to force the painter to obey her. (chapter 68) What the noona didn’t realize is that the main lead’s decision to respect the low-born’s needs (crying and not entering his room) was the reason why Baek Na-Kyum selected him in the end. There’s no doubt that the lord was associated to home for good, because he is the first one who allowed him to cry and to have a room, where he could seek refuge after getting hurt. Under this new light, the readers can better grasp why Baek Na-Kyum is healed now.

However, my examination is still not finished. I had portrayed the commoner as suffering from the loss of sight and hearing due to his neglecting mother/noona. But this doesn’t mean that he had lost his body too. Since he was deprived of these two senses, he had to rely on the physical touch in order to compensate his isolation. And now, you understand why the learned sir and Heena noona had such power over him and why the young boy was so submissive. They used the caress and the embrace as a way to impose their will. That’s how they got so close to Baek Na-Kyum, explaining why the commoner would lose his voice after all (speech ability). He became submissive in his desire to please his loved ones. He saw in their caresses and embraces a sign of affection. He was not wrong, but their attachment was linked to their own interests. Thus their love was rather superficial.

What caught my attention is that the kisaeng stroke the painter’s cheeks, (chapter 46) when the latter was sent away, But she didn’t hug her brother. Why? It was to stop him from protesting. (chapter 46) But I would even go further. I don’t think that Heena noona used to embrace her brother. This perception was somehow confirmed in season 3. (chapter 94) Here, the infant hugged his noona, but she didn’t return his gesture. Moreover, she hadn’t stopped the laughing nobles as well. Furthermore, (chapter 66) note the huge distance between the two characters in the last panel. This is no coincidence, therefore I perceive the embrace in chapter 66 in a new light. (chapter 66) It was the first time that Baek Na-Kyum got embraced by his noona. And all this, thanks to Yoon Seungho. In my opinion, the kisaeng got really scared and concerned for her brother. And there’s a reason for this lack of worry. She relied too much on Jung In-Hun. Her false perception is particularly visible, when she claims . (chapter 68) Why does she expect this? From my point of view, her words imply, she must have helped the learned sir in the past: one thing is sure. She was not entirely honest with her donsaeng here, as the manhwaphiles can detect the drop of sweat. But more importantly, we have to question ourselves if the gibang was not used in the past to spread rumors about the Yoons again, and Jung In-Hun could heard something. I am even envisioning that she must have reported conversations to him, a new version of chapter 24: Remember that in that scene the painter doesn’t comprehend the meaning behind this order. If this theory is true, then she never saw the consequences of her action, similar to her brother in chapter 24. If she truly did it, she must have justified this, because the learned sir needed it, she was responsible for him. This would explicate why she is surprised that the artist is responsible for the learned sir. Anyway, due to her assistance, she expected from Jung In-Hun that he would take care of the painter. There’s no doubt that she loved the scholar, and since the boy had entered the kisaeng house due to the learned sir, there is a high possibility that Heena noona got close to Baek Na-Kyum for that reason too. That way, she hoped to earn the scholar’s acceptance and admiration. Since the painter was left alone and longed for love, the latter could only rely more and more on Heena noona, especially due to the incidents where Baek Na-Kyum was wounded. (chapter 94) She created a dependency, while simultaneously, she would delegate her responsibilities on the other noonas. Heena noona became the painter’s mother, yet she was never one officially. Consequently, I believe that her bond was not entirely selfless, which became truly visible in season 3. Let’s not forget that the kisaeng was portrayed as quite rude and selfish in certain scenes. The way she hugged her brother was not tender in my eyes. (chapter 68) For me, her real “admiration” was for the learned sir, therefore it becomes understandable why she wasn’t bothered, if Jung In-Hun asked for her help in exchange for taking care of Baek Na-Kyum. According to my theory, the learned sir had brought himself the baby to the gibang, this means that in chapter 46, he could only accept the kisaeng’s request. He had no other choice, for in Heena’s eyes, they were somehow related. From my point of view, Heena noona hoped that Jung In-Hun would even assist her and help her to leave the gibang. But this never happened. In my opinion, there exists another reason why the painter was sent to the learned sir. And it is related to Yoon Seungho, the erotic paintings and the pedophile.

The kisaeng helped the scholar, while the latter assisted her with her burden: raising a boy. From that moment, a toxic relationship started, which could only affect the young boy. This would explicate why she accepted that Jung In-Hun would leave her behind while getting beaten. For this kind of incident recurred, we have to imagine that the low noble and the kisaeng contributed to add another artist’s trauma: the abandonment issues and the loss of home.

From that moment, he was forced to roam around with the scholar during the night. (chapter 70) And now, we have to question ourselves why the kisaeng chose to send away the painter in the end. From my point of view, it wasn’t really to protect him… since Baek Na-Kyum was now an adult, the role of the scholar was no longer necessary. First, the artist was supposed to be literate. At the same time, the low noble couldn’t take him any longer, when the kisaeng got hurt again. This kind of diversion was no longer possible. The man was old enough to intervene, hence not only he could have defended his sister, but also he could have investigated what was happening in the gibang. That’s why Heena sent him away to the scholar and observe that the noonas were not even informed. (chapter 46) Why? Because she knew that they would have questioned her. Moreover, the noonas might have convinced the donsaeng to stay in the gibang. In my eyes, the noona thought that she was doing it for her son’s best interest, while in reality she had other motives to ask the painter to leave the gibang. Unconsciously, she desired to leave that place too. From my point of view, she dreamed that the learned sir would take her away at some point. This interpretation was proven correct in season 3. (chapter 97) In exchange for her services, she had to bring Baek Na-Kyum to Min, the noona would be able to escape the gibang.

Therefore it is time to focus on the learned sir again. Exactly like I had anticipated, the low noble blamed the painter for his inability to read: he would doze off , while in reality the low noble made sure that the artist would fall asleep. Besides, if the painter was awake during the night, this signifies that he had to sleep during the day. And in order to obtain the painter’s assistance, he noticed that the low-born was sensitive to physical touch: the scholar chose the hug. That’s why we see him embracing the young boy in chapter 68 or piggybacking in chapter 70. We have to envision that first he embraced him in front of the kisaeng, then once they had left the town, the noble would change the position. Yet, I believe that Heena had here romanticized this embrace. It represents a distorted memory mixed with fantasy. What caught my attention is that in both hugs, the noble could hide his face and in particular his eyes. At the same time, the learned sir wasn’t faced with the commoner’s tears and sadness. He could feign ignorance. (chapter 70) But this could only work, until the painter entered adulthood. After that, he could no longer use the boy as tool and diversion. Even if the learned sir’s affection was genuine in the beginning, the nature of their relationship could only change, for the learned sir had kept using him in the past. It had become a habit.

Envision this: his ties with the kisaeng house were cut off. And since he had never taught the painter to write and read properly, Jung In-Hun was cornered. Moreover, there is no ambiguity that the learned sir started viewing Baek Na-Kyum as a burden, this means that at some point Jung In-Hun must have felt the exact opposite of this: (chapter 44)

And since the scholar has always disdained the commoners, he could only abhor the idea to keep hugging the artist. The latter was now a grown-up. Hence he used the erotic painting as an excuse to abuse Baek Na-Kyum physically. That way, the noble was no longer obliged to caress or embrace the painter. However, because of this method, he destroyed the painter’s body symbolically. (chapter 34) And this leads me to the following conclusion: the painter ended up in the same state than Yoon Seungho’s. Both lost their senses and their own body. And now, you can comprehend why the main lead can’t cry yet. The return of his tears will mark the end of the transformation and his recovery.

Nonetheless, let’s return our attention to the scholar and his relationship with the painter. If the manhwaphiles pay attention to the progression of the first season, they will notice the increasing intimacy between Baek Na-Kyum and Jung In-Hun. First, it started with a stroke (chapter 10), then in chapter 24 he touches his shoulder and kisses his hands. (chapter 24) With my new interpretation, you can comprehend why he did this. He tried to use the same method from the past: he knew that physical touch would make the artist submissive. And the climax was reached in chapter 29 with the fake embrace and the betrayal: (chapter 29) From that moment, it went down again. We returned to patting (chapter 35) and strokes (chapter 35) and finish with this final touch of the painter’s cheek: (chapter 38) And the physical interaction reflects the learned sir’s loss of power. Despite his attempts, he was not able to obtain the artist’s submission like in the past. That’s the reason why he could only resent the artist. We have to remember that the low noble really detested this physical intimacy, hence he would tighten his jaw or grind his teeth. (chapter 24) Note that in many panels, we never see the scholar’s facial expressions, but there is no ambiguity that he could never truly hide his disdain. But the painter was still blinded by his “admiration” for Jung In-Hun. However, after the argument at the library, the painter lost his sight and hearing again. He was too wounded by the final blow.

And now, you understand why Yoon Seungho’s actions (seeking intimacy) could only help the painter to recover. First, he had been able to remove the poison from the artist’s mind before the backstab in the library. The lord had encouraged Baek Na-Kyum’s critical thinking. This explicates why after the scholar’s betrayal, the painter’s independent mind resurfaced first. (chapter 46) Then the readers witness the return of the artist’s 5th sense (touching) in chapter 49. That’s the reason why the noble could finally get the painter’s attention afterwards. For me, the touching has always been the most important sense in his life, which explains why Heena and Jung In-Hun had such control over the low-born. Then in chapter 52, we assist to the revival of the artist’s sight: (chapter 52) And now you comprehend why Heena and Jung In-Hun were defeated. The hug in chapter 66 helped him to satisfy an important need: he was truly embraced while getting comforted. Simultaneously, the hug is not entirely related to the kisaeng, but to the study. Remember that we never saw her hugging him before. At the kisaeng house, he didn’t feel like he truly belonged there, and Heena would always send him away due to his cry. While Heena anticipated with this embrace, the painter would follow her like in the past, she experienced a shock. Now, the painter was no longer blindly listening to her suggestion. And now, you understand why she kept touching the artist. She was trying to influence the painter through the physical touch. Under this new light, I understand why she said this after all: (chapter 68) Yoon Seungho is famous for intimacy, then this would signify that she would lose control over the painter forever. This explicates why Heena noona is not respecting her brother’s wish in the end. And if you compare the two farewells between the kisaeng and the main lead, you will detect a huge progression: (chapter 69) They hug each other here, the painter can get closure, because this is just a goodbye. The noona asks him to send letters, this means that she is telling him that he is not abandoned. This night was important, because the painter’s abandonment issues got treated. Hence it is no wonder why the painter could move on from the past during the same night.

And now, it is time to come to the final part, the significance of the painter’s memory in chapter 70. From my point of view, we should perceive as a new version of chapter 34: Back then, he recalled the repressed physical abuse. However, his conscious dismissed it again. However, this time it is different. The painter in possession of his whole body is reminded of the scholar due to Heena noona’s farewell. The closure he got by bidding her farewell triggered a long repressed memory too. The learned sir was the one who consoled him in the past. And while he recalls that night, the adult Baek Na-Kyum realizes that the scholar’s care was not fake in the past. He would keep him company and talk to him, he was his companion of the night. However, for me, this scene outlines his superficiality and indifference. He diverts his attention so that he wouldn’t feel sad any longer. But it was, as if he was ignoring his sadness, for he wouldn’t talk about the incident. (chapter 70), He would even smile making him look indifferent. (chapter 70 Then he makes the following reproach: he was lazy. (chapter 70). For me, during that night the artist realizes that despite the huge blow in the library, Jung In-Hun had not been bad to him all this time. He had good memories. This means that he was able to take his distance and look back at his childhood under a new perspective. The learned sir had been there for him in the past. In this moment, when he saw the moon, he was reminded of the learned sir. It might not follow him specially, but it is always there. (chapter 70) The learned sir will always be a part of his life, as he belongs to the past. As you can see, in this scene, Baek Na-Kyum was moving on. Therefore I interpret this scene as a real breakthrough. The painter is no longer under the influence of the scholar. The latter can not longer manipulate him like in the past [though now I believe that he is dead], and this revelation was triggered by Heena noona and her embraces. But at the same time, he is not rejecting or resenting the man. And this interpretation becomes even more visible in season 3: (chapter 94) His heart and mind are now in peace. He is no longer suffering from a guilty conscience. And this truly exposes that the artist’s abandonment issues were created by Heena.

Under this new interpretation, the scene at the bathroom becomes another significance. The lord decided to let the painter feel and see his affection. He chose a different approach: caressing the finger and the hand tenderly, then the chin before kissing him. (chapter 70) However, what caught my attention is that his touch is never to shut the artist’s mouth. Observe that he lets the mouth open, while he caresses the hands, the chin and even after kissing the painter. (chapter 70) He has the right to speak, while Heena noona and Jung In-Hun used the embrace and caress as a way to render Baek Na-Kyum mute. And since the affection through physical touch was a way to win the painter’s heart, there is no doubt that Yoon Seungho is on his way to win his heart. Now, the painter is finally looking at him and the scholar’s influence has been finally erased. Baek Na-Kyum is now totally over Jung In-Hun, as he has now only view him as a companion and friend, and nothing more. He is no longer his idol. In other words, the low-born has finally found closure. In episode 70, his heart is free.

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.