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/
Thanks to my reader @nakyuhm, I could definitely improve this version.
I guess, you are surprised by the choice of the picture for the illustration, but as you can guess, there’s reason for this. While reading the second episode from Alternative Universe, two elements caught my attention: the role played by the servant Jung In-Hun and the words said by the main lead Yoon Seungho to the noble Baek Na-Kyum.
First, the domestic shows kindness and care to his young master
reminding me of the butler Kim in the original, implying that we have a fake affection. But if Jung In-Hun replaces Kim, it signifies that Baek Na-Kyum is now living the life of the noble Yoon Seungho in the original story. From that moment, I tried to verify this theory: We have an older sister who seems to be jealous of her younger brother, because she mocks him by calling him a baby. 
The source of her resent is simple: since Baek Na-Kyum is the only son of their family, he always gets the attention and admiration from the father, while she, as an older sister, is overlooked due to her gender. Hence I connected her to Yoon Seung-Won, the younger brother, for I had already pointed out in one of my former analyses that there existed a certain jealousy between them due to their father. 
This was truly palpable in this incident. Back then, I had imagined that it was related to the topknot incident. However, I think now that what we are witnessing is a straw mat beating. The younger master, who betrayed his older brother out of jealousy, never imagined that his father would retaliate like that. He had envisioned that his brother would get into trouble and loses the father’s admiration, yet not to this extent. Another allusion to jealousy was the words expressed by the main lead, when he confessed to his lover: 
(chapter 55) From my point of view, he was reliving his past, when he saw his brother getting the father’s attention. Let’s not forget that this story is based on the principle: history keeps repeating itself, therefore the jealousy resented towards the low noble was the present, while in the past, Yoon Seungho resented his brother in the past, it was the moment where jealousy reached his peak. That’s why I saw the roles played by the sister and Jung In-Hun as a confirmation that Byeonduck had chosen to reveal the protagonist’s past in the Alternative Universe by switching their places. Yet, this means that the readers will always see the uke suffering. She desires the readers to imagine the main lead’s traumatic past. While many readers are liking the Alternative Universe because of the humor and the lightness, I am convinced that we are actually headed to a huge tragedy, a repetition of the original story… as it represents Yoon Seungho’s past. On the other hand, it is important to remember that although this is just a repetition of the story, we shouldn’t forget that the story is not simply a pure repetition, as the elements and the chronology are changed. As a conclusion, Baek Na-Kyum will suffer a similar tragedy than the protagonist in the main story, yet it will also be a little different, maybe less painful.
But if Baek Na-Kyum represents the powerful noble Yoon Seungho from the original story, this means that the latter was a painter too. What caught my attention is the following panel: 
He showed the picture, while saying that it was signed Na-Min. However, if the readers pay attention to the painting, there’s no signature on it. Besides, I doubt that as a commoner, he is able to read, remember that the artist in the original story can’t read either. One might argue that the shopkeeper told him the name of the creator, when he showed him the painting. Yet, this argument is incorrect for three reasons. First, the merchant had no reason to mention him, because the former knows that Baek Na-Kyum is selling his pictures directly in order to keep his hobby a secret. Moreover, imagine, Baek Na-Kyum portrayed the famous sodomite Yoon Seungho who is a commoner. The merchant would have questioned him about the circumstances, how he got a painting from the noble. How could the innocent noble have painted the commoner as model? This would have shocked the merchant. From my point of view, the shopkeeper didn’t recognize the artist’s work at all, but he proposed him 5 coins due to his greed. He must have repeated the following remarks: 
In my perspective, the trader was just repeating the criticisms heard from someone else. 
Compare the two reviews, you will notice that the commoner is much more accurate in his review. And he is able to discern the origin of the flaws for such a drawing. 
That’s why I came to the conclusion that Yoon Seungho was a painter himself. In order to become an arts critic, you need to understand the subject, therefore many painting critics are artists themselves. My explanation is that he discovered the noble’s work by sleeping with nobles. His clients would buy the pictures, which the commoner couldn’t afford himself. What caught my attention is the following panel: 
Baek Na-Kyum questions his competence with his rhetorical question. In the main lead’s eyes, Yoon Seungho doesn’t have the eye to know… and to judge his paintings. But this question made me think the exact opposite. From my point of view, Yoon Seungho recognized the artist’s style, hence he could name it. And there’s no doubt that he is familiar with his paintings. 
But unlike Baek Na-Kyum, the commoner is not famous due to his social status. And you understand why I came to this idea that the powerful noble Yoon Seungho in the original story could have been an artist in his youth, a painter and even a poet. From that moment, I started to search for clues in order to corroborate my theory.
First, I remembered this scene in chapter 36: Yoon Seungho used to punish his servants with paint. 
Note that he doesn’t say “write” but paint on their skin. This showed that the noble used to like painting. When I read chapter 36, I made the following mistake: Yoon Seungho was writing, hence I didn’t pay too much attention to his drawing on the painter’s body. However, I changed my mind, the moment I viewed his lines on Baek Na-Kyum’s body: 
It definitely looks like a plant and his lines show a certain confidence. Don’t forget that the artist was shivering due to the stroke of the brush, yet there’s no mishap or zigzag on his body. If I include the following panel from the Alternative Universe, 
then you’ll realize that it is a painting on Yoon Seungho’s body and the author is a painter. This could be judged as another evidence for my theory. A painter drew lines on the body of another artist. Therefore I come to the deduction that in chapter 36, Yoon Seungho started showing his passion to Baek Na-Kyum: he used to paint. The manhwaphiles should remember that in the previous chapter, the lord asked the commoner about his likes and dislikes. Such a conversation implies that the counterpart will also ask about the likes and dislikes of the partner. What does Yoon Seungho like in reality? My answer would be: he liked painting, but exactly like the low-born, he was forced to abandon his passion due to his father.
But this was not the first time that Yoon Seungho painted. First, in chapter 8, we have the following panel: 
someone attempted to draw a scene of men copulating. Since my hypothesis is Yoon Seungho was a painter in his youth, then it looks like he was the creator of his drawing. Then in chapter 23, the manhwaphiles certainly remember the book he showed to Baek Na-Kyum in order to revive his memory: 
Therefore Yoon Seungho could have been the author of this picture. Note the progression between the picture from chapter 8 and 23. This time, the artist included colors and the design is more precise, just like the lines are more firm. Then this would explain why Yoon Seungho knew what it meant, when an artist doesn’t practice for a long time. 
(chapter 2). In that same chapter, the artist noticed how well furnished his study was. He had such an expensive paper, and so many brushes revealing the aristocrat’s knowledge. And now it becomes comprehensible, why the lord could only laugh at the fake excuse given by Jung In-Hun in chapter 30: The low noble had brought the artist to the shop in order to buy him ink and brushes. The lord knew that the painter had everything he needed. In my opinion, Yoon Seungho was the one who took care of that room. That’s why the study is next to his bedchamber.
Another evidence for this theory is the picture Byeonduck chose as illustration for the first season of Painter Of The Night: 
Note that the drawing behind the noble is not only torn, but it was made on an expensive paper indicating that this work was made by someone rich. Secondly, Baek Na-Kyum never created such a painting in the first season for the protagonist, yet the main lead painted a similar picture in his youth: 
. However, there exist small divergences: the uke in the purple drawing is embracing his lover exposing such a passion and strong love. And since I explained that Baek Na-Kyum was making the same experiences than the main lead, it looks like the author of this painting in this picture could have been Yoon Seungho who saw two nobles making love and reproduced the scene. Furthermore, observe that the color of the drawing is purple, exactly like the color of the main lead’s robe. We know that Yoon Seungho likes purple very much, he put on a purple hanbok in order to impress the painter in chapter 23.
So in my opinion, Yoon Seungho used to paint in secret, exactly like the noble Baek Na-Kyum, as he knew that his father would never allow such a hobby. He had many reasons for that. First, since Father Yoon is portrayed as a controlling father, it means that he was paying attention to the main lead’s every move. While the father might have described painting or poetry as too feminine, the real reason for this interdiction was different. Father Yoon couldn’t allow that Yoon Seungho’s reputation outshines his own. 
Note that no one remembers the protagonist’s previous reputation. He was intelligent and talented, until father Yoon started spreading the rumor that his son was ill. He needed to get treated. Then later he portrayed him as unruly and difficult in front of people, like the former servant explained in chapter 37.
Yoon Seungho liked paintings and even poetry, a thorn in the eye for Father Yoon, as it represented a source of threat for father Yoon. There’s no ambiguity that such an ambitious and greedy man would reject arts. Why? According to my theory, the main lead is the illegitimate son of a kisaeng and the grandfather, so seeing his half-brother getting more famous would definitely infuriate him. Moreover, it would be a constant reminder of Yoon Seungho’s true origins. Finally, if Yoon Seungho became famous as an artist, he could get close to power, like for example he becomes the personal painter of the king. However, when father Yoon discovered that his son had caught the king’s attention, he realized that he could use the protagonist differently. 
As the king’s courtesan or prostitute, Yoon Seungho would lose all his rights. He would never get recognition and power as well, while father Yoon as his pimp would benefit from it. That’s why when the father mentions “illness”, he could definitely be referring to painting. Yoon Seungho learnt that he had to paint during the night to outlive his passion, and now you understand why I saw the combination of this illustration with the title Painter Of The Night as another possible evidence for my theory: Yoon Seungho was also a painter of the night, just like the noble Baek Na-Kyum in the Alternative Universe.
Another point supporting this theory would the appearance of designs on the main lead’s hanboks. This clearly reveals his passion for drawings and he has such a fine eye for designs: 
(chapter 45) 
(chapter 50) 
(chapter 53) and 
(chapter 67) Even when he died in a figurative sense, the last hanbok indicates that his liking for drawings has not died yet. Nevertheless, all the pattern have something in common: the presence of nature. There are always animals or plants. And this observation led me to the next conclusion, Yoon Seungho was a painter, but unlike his lover, he loved painting nature. This explains why the main lead painted a plant on the low-born’s body in chapter 36. And we have a clue that Yoon Seungho loves plants and animals, if we use the story from Alternative Universe: Remember how the cat caught the noble’s attention
and the latter used a plant to play with the animal.
But how come that he created an erotic painting, if according to my hypothesis, the main lead was preferring nature and animals? In my opinion, Jihwa was responsible for this. Since no one in his mansion paid attention to his whereabouts, he witnessed sodomy and that’s how he discovered his sexual orientation. Then one night, he led his childhood friend to the place where the couple was having sex and Jihwa begged his friend to paint for him what they had seen.
The drawing in the illustration for the first season was discovered by the father who destroyed it, because someone tattled on Yoon Seungho. Let’s not forget that in the Alternative Universe we have a lord peeping tom: 
Moreover, the painter’s sexuality resurfaces the moment he witnesses sex between Jihwa and Yoon Seungho, a new version of voyeurism. Why do I think that Jihwa was the one who led the innocent noble to become a voyeur? Note that in the Alternative Universe, the cat is the one leading Baek Na-Kyum to the cabin and even strokes the artist’s butt, while the latter is beholding the scene: 
So the main lead was not alone, when he saw the commoner having a fellatio. Besides, the manhwalovers should recall how Baek Na-Kyum saw two nobles having sex at the gisaeng house.
The aristocrats hid their sexual orientation behind the gisaengs. On the surface, they would behave like normal men, while in reality they loved another man. I doubt that Yoon Seungho could leave his mansion like that, especially if he was monitored by the staff and especially by his butler and his brother. From my point of view, Jihwa and his friend must have witnessed it at the pavilion. 
Note that the pavilion played a huge role in the first season: emancipation for Yoon Seungho in chapter 3 and the same for Baek Na-Kyum, as the latter was forced to admit that he loved his teacher in chapter 25. Furthermore, I would like to outline that each scene at the pavilion was linked to painting. After witnessing how two nobles made love, Jihwa begged his friend to paint for him (new version of chapter 8). Simultaneously, the red-haired friend decided to make some advances, as he had always felt attracted to him: 
That’s why Jihwa decided to visit him during the night, since no one noticed his absence from home. So while the innocent man, Yoon Seungho, was focused on the drawing requested by his friend, Jihwa said this: 
This interpretation would explain why Yoon Seungho couldn’t perceive Baek Na-Kyum’s preference and why Jihwa was an expert for recognizing virgins. However, during that night, the door opened 
and Jihwa, too scared to get caught, left his friend behind. What followed, you can imagine: Father Yoon believed to see in his son a homosexual due to the painting and punished him. He beat him and asked for some medication from the doctor. Since there was an erotic painting in his son’s room, the father went to father Lee and told him about the painting. However, father Yoon blamed his son for the incident. 
That’s how Jihwa was separated from his friend, yet the latter chose to remain silent and let Yoon Seungho suffer the consequences from his request. Then he must have heard from the staff that a teacher was hired for a conversion therapy. This would explain why Yoon Seungho relived his second abandonment during that night of revelations: first, the friend who ran away because he had been able to escape 
and later the rape with Kim at the door: 
Besides, the manhwaphiles will certainly recall how worried Baek Na-Kyum was in chapter 16 and 17, after leaving the lord’s bedchamber in a hurry. He couldn’t eat and kept wondering if someone had seen him or not, a new version of what the red-haired noble had experienced. In my opinion, there were two incidents occurring with the painting:
- The first one was Yoon Seung-Won who gave a painting to his father, so that his admired brother would lose all his credibility by his father… and I believe that Kim played a role in it, as he could be the one who gave the painting
(chapter 37) to the younger master. This led to the straw mat beating. The scholar Jung In-Hun told his future sponsor this: 
We have to envision that the powerful main lead experienced a similar incident. - The incident with the door: my idea is that his father was tipped off by Kim so that the latter wouldn’t be blamed for this. Remember what I wrote once: in chapter 16, Kim was the one who opened the door, yet he had been manipulated by the vicious and envious Deok-Jae.
I have to admit that I have no idea about the identity of the persons involved in the love session at the pavilion. One thing is sure: One of the fathers was caught making love to another man. And now, you can comprehend why I got more and more convinced that Yoon Seungho was a painter.
I sense that Jihwa’s spirit and love for nature inspired Yoon Seungho in his drawings. Note that the windscreens in Jihwa and Yoon Seungho’s chamber have a pattern containing trees and plants. 
I believe, Yoon Seungho could sense free spirit in his childhood friend, reminding him of nature and freedom. That’s why I believe that the cat in Alternative Universe represents Jihwa. First, we have the presence of red . Moreover, Jihwa is represented by an animal in the original story, the monkey. Furthermore, the behavior of Baek Na-Kyum in Alternative Universe reminds us of a cat’s…
Furthermore, like my reader @Peperon21428670 pointed out, I had already associated the painter to nature. This explicates why Yoon Seungho chose to paint a plant on the artist’s body that night. He sensed the connection between nature and the artist. And since Jihwa and Baek Na-Kyum are similar, then the cat embodying free spirit and longing for affection can only represent the second lead. This would stand in opposition to Yoon Seungho’s mansion, which the eldest son felt like a cage and prison. This explicates why Yoon Seungho was painting nature and liked his childhood friend so much. He embodied everything what the main lead couldn’t have. Furthermore, with this new approach, it would confirm that there were two people watching the nobles making love at the pavilion, as Baek Na-Kyum peeped at Yoon Seungho with the cat by his side. With this new interpretation, the manhwalovers can better grasp why Jihwa was waiting for Yoon Seungho’s love, as he hoped that he would see the same gaze than in the past. However, from my point of view, Yoon Seungho could never feel like before due to the abandonment he experienced, when Jihwa left him. Furthermore, since Yoon Seungho’s passion for painting was killed by the coercive persuasion and sexual assaults, he could never gaze at his childhood friend the same way. This would explicate why Jihwa is so convinced that he knows Yoon Seungho’s true past
(chapter 57), whereas he is only aware of the peak of the iceberg.
So if Yoon Seungho was a painter forced to vow to never paint, it becomes understandable why Baek Na-Kyum’s paintings affected the main lead so much. They healed his eyes which had been ruined by his traumatic experiences.
(chapter 57) His keen eyes were revived and the light in them returned. 
Slowly the lord rediscovered his love for arts and paintings… inciting him to draw again.
Arts therapy is nowadays used as a method to heal people suffering from mental illnesses due to huge traumas. That’s why Yoon Seungho could only fall in love with the painter’s work. They were kindred spirits, and when the lord saw the painter for the first time, he fell in love at first sight, unaware of his emotions. Just like in the first special episode… Yoon Seungho’s face inspired the noble so much that he drew a threesome.
Therefore, with this new perception, the manhwaworms comprehend why Yoon Seungho wanted to scratch Jihwa’s face in the chapter 67.
Since in the past his face was a source of inspiration, the symbol for innocence, youth, freedom, carefree, naturality, honesty, happiness for the painter Yoon Seungho, the latter can only associate his face to dishonesty, deception, pain and suffering now. Although Jihwa didn’t get scolded or caught with his lie, he felt guilty, but he never felt the courage to correct the truth. That’s how Jihwa started behaving like a coward and playing tricks. With this incident, he learnt a terrible lesson: he learnt how someone else could take responsibility for his actions and decisions. Since it was never revealed, the young aristocrat faked his smile and cheerfulness due to his guilt. However, with the separation from his friend, he got lost and found himself a new “friend”: The Joker who perverted his innocence and naturality in the end. That’s why when they reunited, Yoon Seungho sensed the transformation in his childhood friend. And once Jihwa discovered that his friend was interested again in painting, he looked for pictures hoping to catch Yoon Seungho’s interest. However, he was rather bored, 
when he looked at the picture (chapter 9). Then in chapter 12, he proposed to hire a painter from the Royal Academy 
, because he knew how much his friend liked painting. Yet he couldn’t encourage him to paint himself, for he would have been confronted with the past. The red-haired aristocrat thought, he could manage to get rid of the artist without reminding Yoon Seungho of the incident with the door. And if my theory is correct, this scene implies that the noble never apologized for his friend’s suffering.
Now, the noble is able to perceive his friend’s corrupted nature, hence he describes his friend’s face as vile. 
(chapter 67) The face is no longer a source of inspiration, rather of suffocation, and this picture contrasts so much to the main lead’s reaction, when he looked at the artist’s face in the following drawing.
(chapter 25) He noticed the absence of facial expressions. Therefore he recommended him to use a mirror (chapter 28). As you can see, the muse’s face and facial expressions are very important for the powerful aristocrat. I believe that at some point, he will destroy the painting made with Jihwa 
so that there are no picture left with him, a new version of chapter 2. For me, the chapter 67 marks the beginning of Baek Na-Kyum’s influence as the lord’s muse. With him, he is learning what love and courage are and he will inspire the master to paint again. Finally, he will be able to discern between fake and genuine affection and concern leading Kim to lose his master’s trust.
And now it is important to remember the painting sent to father Yoon: 
Imagine how he must have felt. He tried so desperately to stop his son from being linked to arts and painting, and here he receives an erotic painting. He can only be reminded of the past incident. At the same time, he is also criticized for his hypocrisy. He forced his son to prostitution for his own goal, but acted as if he was proper and righteous. No wonder that he was so enraged and could barely contain his fury. He was confronted with his lies and wrongdoings, one could say that he was finally seeing his failure as father. Because of this new approach, I come to the conclusion that Kim was the one sending the painting, hoping that the eldest master would intervene, as he prefers father Yoon to his actual master who is always linked to scandal and uproar, which contrasts to Kim’s philosophy. The butler hoped for an intervention, but since father Yoon hates himself to be connected to sodomy and would like to keep his reputation intact, he chose not to intervene.
With this new theory, I believe that Baek Na-Kyum will become the lord’s muse, just like the main lead will become Baek Na-Kyum’s source of inspiration. At the same time, I imagine that Yoon Seungho becomes the painter’s teacher as well, in the sense that the aristocrat teaches him how to paint other topics: nature for example.
So the painter of the night is not only referring to Baek Na-Kyum, but also to Yoon Seungho. That’s why Byeonduck chose this illustration for the first season: the past and the present are visible in this panel.
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 the support. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.
(chapter 67) My first thought was: “Where were you all this time?”
(chapter 3) Their intercourse was noticeable, but at no moment father Lee interrupted them. And now, the erected phallus was switched to a sword, and unlike in chapter 3, where the second lead was eager to meet his sex partner
, the master chose to hide behind a windscreen. 
(chapter 67) However, this time father Lee intervened. Why all of the sudden? For the first time, his son caused a real trouble, because someone entered his house with a sword: a huge scandal! Furthermore, he must have realized that his son’s life was in danger, hence he had to intervene. The domestics couldn’t deal with such a powerful noble. And now, you understand why I couldn’t restrain myself from smiling, because the father Lee’s reproach sounded so hypocrite. 
(chapter 41) He spent the whole night drinking and his father never asked about his whereabouts. He never showed any concern, as he has his staff to take care of him. In other words, he put the whole responsibility on the domestics. After confessing to Yoon Seungho in public, no servant shows up and takes care of him indicating that neither father Lee nor the staff heard about the scandal. Nameless was the one who was asked by the inn owner, if he could take care of the young noble. 
(chapter 59) He even gave him a dry robe and a home for the night. Since the servant only showed up the next morning in chapter 41 and he didn’t even appear during the night in chapter 59, it illustrates that the staff is more attached to the mansion than to the impulsive noble himself in truth.
(chapter 50), he is even willing to risk his life 
. (chapter 67) He simply follows his master’s request, as he feels, that’s his duty and lord Lee could ask for his accountability. 
(chapter 45) That’s how isolated the father is cut off from reality and world. This is not surprising that his son resembles him, he also lives in his own world. 
, which corresponds to the expression “sensory isolation”. Back then, I had imagined that he had been abused as well. I was wrong, since it was just neglect which I had already detected. However, the consequences of such a severe neglect are as terrible as abuse. Consequently, abuse and neglect are often considered the same. 
(chapter 13)
(chapter 13); aggression 
(chapter 17)
(chapter 51)
(chapter 59) In chapter 56, Jihwa sent a fake letter reminding Yoon Seungho of his trauma, yet he acts as if the other is to blame and shows no remorse. That’s why many children suffering from emotional neglect have problems with rules and laws. 
(chapter 57)
(chapter 67), although he had lied to him in the past.
(chapter 67)
(chapter 50)
(red circle). Because of the character’s previous deafness and blindness, I immediately connected it to the wise 3 monkeys: 
(chapter 67), but it was short-lived due to Yoon Seungho’s appearance. We have to assume that Yoon Seungho played the role of the father after the former had been abandoned by his own father. However, he could never assume this function properly, as he was suffering himself and couldn’t give him the emotional and educational comfort Jihwa needed. Let’s not forget that the protagonist chose to ignore his own feelings, to even numb them. Hence it was impossible for them to connect emotionally. 
(chapter 57) “wayward” is a synonym for rebellious indicating that Yoon Seungho had started questioning his father’s behavior and words. Simultaneously, I believe that the father judged his son’s behavior as too childish, thus he said that he had been suffering from an illness for a long time. The adolescence represents an important step in the child’s development. That’s the moment when a teenager decides to take his distance from his father in order to find his own identity. Since the main lead was described as intelligent, it was normal that the main character would decide to make his own decision and could sense his father’s flaws. Consequently father Yoon could only see the critical remarks as a sign of insubordination. This is not surprising that he blamed his son, when something happened due to Jihwa. 
(chapter 67) and it is even possible that he gets a scar or a tattoo. 
(chapter 65). Father Yoon put a lot of trust in valet Kim in the end, as he relied on his information. This is another evidence for me that Kim is responsible for the main lead’s suffering. Since father Yoon was relying on Kim’s eyes and ears, his perception got changed and this in a negative way. That’s how he became blind. He contributed to the terror ruling at the mansion, but since Kim was kind and caring, Yoon Seungho believed this illusion, while Kim was his biggest spy. I am quite sure that he played a major role, when Yoon Seungho got separated from Lee Jihwa and received his reeducation therapy. For me, there’s no doubt that his responsibility kept getting bigger, when he saw the main lead getting raped, and he decided to close the door and ignore the incident. He just needed to say that this was not his business. Another possibility is that he could justify his choice by saying that it was done for the main lead’s best interest. Let’s not forget that Kim was the one who presented the physician to father Yoon.
(chapter 57) There’s no doubt that father Yoon put all his trust in Kim. This explicates why Kim acts, as if he had the authority to give orders.
(chapter 67) He must have developed this habit, because father Yoon gave him some power. Observe that he sometimes dresses like a noble 
(chapter 57) due to the hat and the robe. What caught my attention is that he acts behind his lord’s back, when the latter is absent. 
(chapter 68) Besides, since this story is based on the principe that history keeps repeating itself, then Yoon Seungho is making the same mistake like his father. However, Yoon Seungho will realize it thanks to the painter and the head-maid. Father Yoon put all his trust in his valet, unable to recognize evil in his butler. Just a reminder: 
(chapter 57) By examining Kim again, I have to admit that I suddenly had this question: who gave the painting to Yoon Seung-Won? Did the valet act on the lord’s order? 
(chapter 37) Or did he decide to act on his own? Let’s not forget that during that evening, the valet had been reprimanded by Yoon Seung-Won for lying to him. It is possible that the valet chose to give the painting in order to put the blame on Yoon Seungho, as he feared that the young master could report his lie and behavior to father Yoon. The latter might not be present at the mansion, but there’s no doubt that he asked his trusted servant to keep an eye on his eldest son, whom he considered as a troublemaker. This would explain why the main lead keeps taking the medicine. And now, you can grasp why Kim is more loyal to father Yoon than his actual master. The latter gives him more freedom, yet he expects from him more responsibility. Under the ruling of father Yoon, the butler could avoid any trouble by tattling on the young master Yoon Seungho or by faking ignorance, when it was necessary. Since father Yoon put all his trust in the valet, he was not able to see evil or hear evil in the end. Kim framed innocents or he feigned ignorance. As a conclusion, Father Yoon was put in the same situation than father Lee due to Kim’s actions.
He used his knowledge to hurt Yoon Seungho in the hope that the latter would keep him by his side. This was in fact a reminder that the protagonist shouldn’t change.
(chapter 59), he has the impression, he knows Yoon Seungho’s true past. He projected his own past onto his childhood friend’s. Yet, their suffering was different: father Lee neglected his son, while father Yoon was an abusive father. Besides, though he must have heard what father Yoon used his son as prostitute in order to save his own skin, Jihwa came to the conclusion that he knew the past and as such the truth. 
I suspect that lord Song is the origin of this misinformation and manipulation, because this would explain why Jihwa is so sure about his intelligence. He thought, he got his insight from the original and sure source. But let’s return our attention to the chapters 56 and 57. At the inn, Jihwa got chastised and battered for using his knowledge. 
(chapter 56) 
(chapter 57). What caught my attention is that although the noble described the friend’s action as a prank
, the main lead was definitely so hurt that he had to hide his gaze from Kim the moment he received the letter. 
This exposes how vulnerable and wounded Yoon Seungho was, but how misinformed Jihwa was in the end. That’s why the protagonist can only reproach his former friend that he understands nothing, because his “knowledge” has been transmitted by someone else, exactly like in the Greek story: Prometheus gave fire to humans. As a conclusion, each time someone reveals a secret related to the past, this person will get sentenced sooner or later, like the new added illustration proves it. 
But this list of Pandoras doesn’t end here. There’s no doubt that Kim will resent him for the scandal, as his reputation and tranquility were ruined by the shopkeeper’s revelation. It is definitely possible that Kim is the one who retaliates, as he was present at the tailor shop.
That way, he could “tarnish” the painter’s innocence in his master’s eyes, as the former represents a real source of uproar and ruckus in his life. Therefore I predict, Kim will change his mind about Baek Na-Kyum and decide to get rid of him: he caused him too much trouble. And my prediction came true: the butler tried to send away the artist through his noona, and he got punished for his action. The lord caught him usurping his position so that the valet ended up losing his master’s trust. Kim used his knowledge from the night of revelations.
(chapter 64) He believed to have seen sexual abuse, while in the shed the noble confessed his love and hope one more time.
Yes, the drug the main lead has been fed since his teens. Exactly like in the Greek story, the box is associated to disease, as the medicine is responsible for the protagonist’s illness, his hot temper. 
As you can imagine, the opposite happened, exactly like I had foreseen. Observe that the moment he revealed his knowledge
(chapter 65), the butler punished him by threatening him, making him believe that he would get killed, if the lord were to discover the truth. As you can see, he opened the pandora box in front of the valet and the latter chose to retaliate. That’s why I come to the conclusion that the physician will play a huge role in the future again. I think that contrary to the butler’s behavior, the noble will have a different reaction, when he discovers the truth. Besides, since he knows about his past, the physician will open the pandora box again. That way, the noble could hear about his past and the existence of the drug so that he has a different perception about valet Kim. There’s no doubt that the physician represents a pandora box for the butler. During the second season, he could still control him, yet he is still unaware of the revelations he confided to the painter. 
From my point of view, Yoon Seungho will envisage that there was an accomplice. That’s why I sense that Kim and the physician’s testimonies will be examined. Since both were present that night, the aristocrat can only suspect them. And since the physician revealed his secret to Kim
, it backfires because of the painter. The latter brings up the topic about the lord’s illness in his youth and the medicine he has been receiving all this time. 
He had no idea about the real affect of the drug. At the same time, we shouldn’t forget that in chapter 33, Kim asked for an aphrodisiac without the lord’s authorization, which the physician noticed,
because Kim only asked after the noble’s departure. Note that in that chapter, the physician gave the prescription in front of Yoon Seungho, and the latter only left, after he had heard the treatment. 
From my point of view, the incident in the first season will resurface, as it will be linked to the lord’s own medicine. It is possible that Kim and the physician tries to put the blame on each other. However, I believe that Baek Na-Kyum’s testimony will play a major role. The manhwaphiles should recollect that Baek Na-Kyum voiced his rejection of the infusion in front of the head-maid. He even described the effects of the medicine which also surprised the woman. 
As a conclusion, I believe, the head-maid will be the reason why Kim loses his master’s trust entirely. The medicine, the advice he gave to the physician and the fact that he kept giving a drug ordered by father Yoon, although he knew how the aristocrat treated him… there’s no doubt that Kim will lose his position as butler. 
. From my perspective, her attitude changed, the moment she got reprimanded in chapter 38. Notice that right after that incident, Jihwa’s servant explained to his master that now the staff from the Yoon’s mansion would no longer leak anything. This is important, as he it shows her influence over the staff. She was also present, when Kim scolded Deok-Jae, but she said nothing. In my opinion, she was still relying on his authority and trusted him. Let’s not forget that Yoon Seungho started relying more on the maid, as the latter was given the order personally to bring the artist’s food to the low-born. 
The closer the painter gets to Yoon Seungho, the closer the maid got to her master. In fact, she served as a bridge and mediator. First, she confessed to the artist that the lord cared for him, and her words did leave a deep impression on Baek Na-Kyum, because the latter remembered her words after their second love night. Third, when the noble returned to his bad habits, she didn’t scold the artist like Kim, she implied that the commoner had such a good influence on the lord.
The readers can sense that the two servants had a different approach. While she was encouraging the painter in a positive way, Kim chose to put the whole blame on the artist. The most surprising that she changed so much, when we all remember her words in chapter 33: 
Furthermore, after the new episode, it becomes more obvious that the head-maid will play a major role. She caught Kim allowing Heena to enter the mansion and questioned his action
, while in chapter 17, she just asked for his advice. For me, there’s no doubt that her testimony will be used against the valet and the main lead will lose his faith in the butler’s loyalty. But if the latter loses his master’s trust, the servant won’t be able to live in peace. He will have now more reason to fear his lord. As you can detect, I am expecting that all the incidents in the past (rape, the aphrodisiac given to Yoon Seungho and Baek Na-Kyum) will be revealed.
hence the latter must have reported to her about the incident. Moreover, she had even planned to visit the artist, when she caught Kim. 
. Hence Kim thought that if he let her see the artist, she would stop causing a ruckus. At the same time, note that in that scene, Kim is portraying his lord in a negative way
There’s a reason for that, he is seeking for her cooperation so that she doesn’t keep yelling at the front of the mansion 
and gather more attention from spectators. For the butler, she represents a new burden. But since Kim never witnessed the conversation between the maid and the painter (chapter 36 and 46), he has no idea that something happened behind his back, since peace only matters for him. As a conclusion, I am expecting that all the lies and tricks Kim used in the first and second season will be revealed the moment he opens Pandora’s box, when he confesses that the physician was a witness and didn’t help the artist. For me, one thing is certain now: Yoon Seungho’s rebirth is related to the valet. 
He was a gentle but strong hero, willing to protect and console his lover, when the latter feared for his life. At no moment, the main lead cared for his reputation and people’s gaze. Baek Na-Kyum’s well-being was what mattered the most to him. the irony is that his actions never caused an uproar. As you can see, Kim is in truth Yoon Seungho’s closest enemy, and it is only a question of time, until the protagonist realizes his butler’s first real betrayal, like Baek Na-Kyum experienced it in chapter 29: 
He has already discovered his disobedience, yet he will get shocked when he discovers all the lies Kim told him. At some point, he will recognize that Kim has always been a traitor. The pandora box will be used against the valet, the same tool he used to fool people.
[I already examined the clothes from the first season, here are the links: 
(chapter 12)
However, it changed the moment, Yoon Seungho made love to the painter. Since he knew that he had acted as the scholar’s replacement, he needed to attract the painter’s attention and used his clothes in order to impress the commoner so that the latter would fall for him. 
In chapter 39/40, he selected a pink robe with a black hanbok. This represented his actual state of emotions. He had just shared his bed with the painter for the first time and felt pleased and refreshed, like a happy man in love. However, he was trying to hide his emotions, therefore the pink was covered by the black hanbok. And since he wore a hanbok with short sleeves, it is palpable that here again, he desired to seduce and impress the artist. In conclusion, the lord felt the need to become desirable in the artist’s eyes and used his hanboks for this purpose, indicating some insecurities. Simultaneously, his selection was influenced by his emotions and unconscious. Striking is that in chapter 39, he had not the valet by his side to dress him up. Therefore Kim had no influence in the selection of his hanbok for that romantic date. And it happened again in season 2. When the main lead chose the blue hanbok with short sleeves
, Kim was taking care of the painter. Therefore I come to the conclusion that Kim has some influence, in the way the main lead is dressed. This explains why we saw him helping the lord to get dressed in two occasions and each time, he chose the same hanbok: in chapter 11 
and chapter 47 
. And this is no coincidence. This outlines the importance of Kim in Yoon Seungho’s life. He is his right-hand, he is the only one allowed to see his hair down and comb it, a privilege that Baek Na-Kyum has never got to experience yet. However, little by little, the readers can perceive the painter’s increasing influence through the hanboks. 
But if we look at the hanbok again, we will notice that the addition of plants in the pattern illustrates the importance of nature for the noble. So it looks like nature is gaining the upper hand, it reached the climax with the beautiful hanbok where you see the phoenix among plants and herbs 
It looks like Yoon Seungho’s unconscious has finally been able to perceive his true identity. Therefore I come to the conclusion that his relationship with Baek Na-Kyum helped him to find his true self and the clothes reflected his transformation. He is indeed a phoenix, but he feels like dying due to his unrequired love. With this new approach, you can comprehend how the painter is represented in the hanboks. He is nature himself: the trees and the flowers making the main lead feel alive. That’s the reason why during the second season, the aristocrat wears hanboks with a design. The pattern is a metaphor for the low-born, which is not surprising, since he is himself a painter.
In chapter 52, he was staging himself as a king in order to mask his despair and vulnerability. The hanbok exposed his vulnerability, which didn’t escape Min’s notice. This contrasts to his clothes and behavior during the first season, he is masking his powerlessness with the robe. However, the beautiful hanbok left such an impression on the envious aristocrat that the next morning, Black Heart also picked up a hanbok with a design.
The irony is that his design was totally different. It reminds us of the smoke of opium or even worse: someone full of hot air. He talks a lot, but doesn’t know much which is true. He has no idea what really motivates the main lead. And with Min’s new hanbok, I consider it as an evidence that Yoon Seungho is indeed the phoenix and we just need to wait, until he raises from his ashes… the moment he abandons his self-hatred and love selflessly like he desired in the past. But let’s return our attention to the blue hanbok with phoenixes on it. I assume too that deep down, the main character wished to catch the painter’s attention from afar. He has such a magnificent hanbok that he could be distinguished from all the other nobles. And you are now all wondering about the return of the simple robe with long sleeves. 
It was, as if he had returned to his old self. First, I had imagined that the light blue could still be judged as a good sign, as this color symbolizes peace of mind. Furthermore
Therefore I come to the conclusion that the aristocrat was the one who selected his hanbok that morning. And this situation happened again in chapter 56. And notice that this time, he chose a hanbok with short sleeves indicating that he wanted to impress someone again. For me, there’s no doubt that he had the painter in his mind. Since he had heard that Baek Na-Kyum had not run away after his first confession, the lord had hope again, mixed with some insecurities. And now, you understand why Yoon Seungho felt so betrayed after his second confession. He had treated the artist tenderly, had been given hope a second time, only to discover the next morning the painter’s disappearance. No wonder why he felt so hurt and betrayed and couldn’t see the truth. And now, note that in chapter 65, Yoon Seungho got dressed in front of the artist without Kim’s assistance, while the painter was still in the bedchamber half-naked.
This final scene indicates that despite the rough treatment, the painter has become even more intimate with Yoon Seungho. The progression is even more palpable, when you compare it with the scene in chapter 47: 
(chapter 65), he was brought back to the past. The domestic was a witness of Yoon Seungho’s rape and as such of his sexual abuse. Striking is that in episode 65, he didn’t even open the door, but instead of helping, he let it happened. He didn’t act according to his belief. This means that in the past, he must have acted the opposite. The door was open. This signifies that he abandoned the young Yoon Seungho, when the main lead asked for assistance. 
(chapter 65) He refused to listen to the young master’s plea. And now, you understand why Yoon Seungho had sex in front of him outside the barn. Unconsciously, he wanted to confront the valet with the consequences of his actions.
(chapter 61) or grabbing the topknot of a noble
(chapter 8). His hand expresses not only his rage, but also his powerlessness. With his hand, he wasn’t able to stop the valet from leaving him behind. He had tried to stop his father from leaving his side with his hand too. 
(chapter 86) Furthermore, Yoon Seungho couldn’t even punish the valet for betraying him, because he had no authority and no strength. Back then, he was just a teenager. In chapter 63 and 64, Yoon Seungho was indeed reliving his traumatic past. Because the butler was recollecting two different memories (the night before and the lord’s sexual abuse), my first impression was that the young boy had been abused in the shed. 
(chapter 77) My theory is that the main lead was raped by “lord Song”, the king. Therefore I assume that the man was invited by father Yoon. Remember that the kisaeng Heena proposed to her donsaeng to seek the protection of a nobleman, as he is a low-born. 
(chapter 97) My idea is that the valet thought that by seeking the monarch’s protection, the young master’s suffering would end, for the king stands above the scholars and elders. Anyway, I believe that the valet made a bad choice and regretted it afterwards. Due to his guilt, he developed resent towards Yoon Seungho. And this explains why Kim said this to the painter in order to ease his pain: 
(chapter 12) He couldn’t tell him details, since he would reveal his complicity to the crime. Furthermore, since the valet led the painter to the pavilion, it is very likely that Kim was the one who offered Yoon Seungho to the pedophile, which makes his crime even worse. 
(chapter 77), he became more and more burdened by his guilty conscience. He turned into an accomplice, for he never revealed his involvement and mistakes.. He could no longer reveal the truth, because he would have to get punished. He feared father Yoon’s wrath and he had reasons too. He could definitely die. That’s the reason why he reproaches the doctor his passivity and silence, though in my opinion, it was not about the abduction, but about the tonic. Sure, in Joseon, there was no law called “Duty to rescue or Failure to provide assistance”. 
(chapter 65), they can’t, because they feel guilty and remorse. Note that right after voicing his wish to forget the incident, he recalls Yoon Seungho’s tragedy indicating his incapacity to forget. This explains why Kim gives the doctor the following advice: 
, (chapter 62) especially when you think that Baek Na-Kyum is just a commoner. But the problem is that he was biased, just like his father who had the impression that his son was a homosexual due to the testimonies of close people (Kim, Lee Jihwa and probably Yoon Seung-Won). After the rape, Yoon Seungho got punished. And this interpretation was proven correct in season 3 
(chapter 77). But here Kim remained silent too. 
(chapter 77) It was even worse than before, because after the straw mat beating, he was paralyzed. No one spoke for him and believed his words, and Kim wasn’t willing to step in. Moreover, I believe that Kim had another reason for remaining silent. 
(chapter 65) He disliked the idea of a scandal and trouble. If he had told the truth, he knew that his punishment would be death. Out of convenience, he ran away from responsibility and from the uncomfortable truth. 
(chapter 65) That’s why I believe that the author is not showing that Kim and the physician chose secrecy and silence, because they feared for their life. They only started fearing for their life, when the truth is about to be revealed, as the painter was not dead yet. As the victim, he was a witness. Because once the lord discovers the butler’s passivity and complicity, it becomes a matter of life or death for him. According to me, there are two doctors. So the chapter 65 unveils that the first doctor didn’t testify, as he wanted to help the artist. 
(chapter 65) In my opinion, the butler had deceived the commoner, he let him believe that Baek Na-Kyum had run away because of the lord’s violent temper. The painter had come wounded to his office. This negative perception of the young lord Yoon could only make the doctor jump to wrong conclusion. ,Striking is that this scene 
(chapter 63) revealed that the doctor was hesitating to give his opinion to the butler, he thought that the artist had run away. And what is the common denominator of all these scenes with the doctors. They all chose silence for different reasons. Just like Kim, the doctor had become an accomplice. As for the second, he remained silent out of fear, that he could get into trouble.
(chapter 65) This represents his attitude in life, therefore he is responsible for Baek Na-Kyum’s loss of innocence. His other leitmotiv is 
(chapter 23) He acts, as if he knows nothing reminding us of this scene.
(chapter 28)That’s why I believe that the butler was lying back then and had even allowed the artist to run away that morning. I see a new version of chapter 29. But let’s go back to chapter 65. 
(chapter 82) Why didn’t he ask for a punishment after this humiliation? It is because he couldn’t. However, he must have definitely sought revenge. And the main lead became the sacrificial lamb, as in father Yoon’s eyes, his son was the reason for the purge: desertion, betrayal and probably drugs played a role in the purge. It is definitely possible that I have to change this theory about his traumatic past, but as you can observe, the main elements don’t change:
(chapter 65) The lord realized that something had happened. Due to the painter’s reaction, he was brought back the past. 
(chapter 66) Striking is that the painter’s words were the trigger for revealing the truth. 
(chapter 66) This stands in opposition to silence. Therefore it is no coincidence that Min revealed the truth. 
(chapter 66) The irony is that Heena suspected the main lead of kidnapping her brother and everything looked like her words were true: the wrist, the wounds around his wrist, his actual position (the mouth covered and his hands tied together…)
(chapter 66) 
(chapter 66) Thus the circumstances were turned against him. 
(chapter 65) But she was not present, when Min admitted Lee Jihwa’s crime. That’s how I realized that while chapter 65 represents silence, deception, cowardice and passivity, chapter 66 embodies the exact opposite. Min told the truth, Heena tried to save her brother by creating a ruckus! For Yoon Seungho, silence is a sign of culpability which he learnt from Kim. Hence he lied to the kisaeng 
(chapter 65), and later never spoke to the painter about the incident. If he had done it, he would have been forced to admit his misjudgment and wrongdoing. And now, you understand why Martin Luther King said this:
(chapter 86) He believes that he is the only one left who knows the past. But he is wrong, since the doctor also recalls the past. Hence how can Kim prove that he is telling the truth, since he told a different story to the physician? In addition, we have also lord Song. Besides, by giving the drug to Yoon Seungho without his knowledge and consent, Kim committed a wrongdoing. His knowledge won’t serve him in the end. I am deducing that the saying “silence is a true friend who never betrays” will no longer be valid. Therefore we have to expect a betrayal, and that would be from the physician, especially after we recall the butler’s warning in the first season, which was addressed to a different doctor from my point of view: 
(chapter 33) Let’s not forget that in chapter 65, the servant tried to put the whole responsibility on the physician, making him feel guilty. And since Byeonduck is even using elements from the first and second season, I believe, we will have a reversed situation in season 4, where the doctor will speak up and put the whole blame on someone. Neither the physician nor Kim expected that the painter’s body wouldn’t remain silent 
(chapter 102) He needs to find the answer, which stands in opposition to silence and burying the truth (sweeping it under the carpet). This signifies that this time, Yoon Seungho has to gather information himself, and he can not rely on Kim: 
(chapter 98) As you can see, slowly people are forced to talk
(chapter 99), hence their testimony can be questioned and perceived as lie.
(chapter 100). This is important, because by getting confronted with lies, the lord will be able to discern the truth! In other words, silence embodies darkness and as such death. 
(chapter 74) Thus there was only silence in the lord’s nightmare. And this contradicts this statement: 
And during the second season, Deok-Jae is hired as spy on Jihwa’s behalf. Nameless might have been the hand who decided it, yet since it was in order to help his client, Jihwa is somehow responsible for this.
As a conclusion, Jihwa must have also hired spies among the Yoons’ staff, when he was a teenager, either directly or through his own servants.
the noble with the mole even repeats Jihwa’s expression (“You know”), indicating that Jihwa must have often said it in front of him, like in this scene. 
Although in chapter 59, the latter is not repeating this precise expression, his words imply the same. Because he was a witness of the protagonist’s terrible state, he knows Yoon Seungho the best, just like he is aware of the good relationship between Min and the noble with the mole. We could say that he is so sure about his insight. And now, if you combine both discoveries, you will come to the conclusion: Jihwa must have hired spies in the past and imagined that he had discovered what was happening in the Yoons’ mansion. But why would he do that? 
, we deduced that the main lead’s seclusion and separation from his childhood friend was definitely related to homosexuality. However, back then, I pointed out that the words from the physician about father Yoon made it pretty obvious that Jihwa was the cause for the protagonist’s seclusion. The father must have come to the conclusion that Jihwa was in love with his eldest son. Let’s not forget that Jung In-Hun is a character mirroring father Yoon. And we know for sure that the scholar used to abuse him physically due to the erotic paintings.
What if Seung-Won, who was jealous of his brother due to his good notoriety, decided to fake a letter from Jihwa containing a love confession? He came to this misdeed, after seeing how Jihwa would look at his elder brother. Then he delivered it to their father so that the latter would see him as a diligent and filial son and feels disappointed by his eldest son (new version of chapter 44). I had this idea, because both faked a letter and since they are both linked to a similar incident, I have the feeling that this could be a clue related to their past. Anyway, because of their young age and their innocence, their actions had a lot of bad repercussions, which they never anticipated. Out of disgust, jealousy and fear that father Yoon might lose his son, the terrible father started abusing the main lead physically and sexually. Yet the sexual assaults remained a secret, as Kim covered up for his master. I see now another evidence for this signification with the chapter 65.
The latter was able to get some insight through gossips, like Seung-Won’s visit for example. And it is definitely possible that Jihwa could have done the same in the past, therefore he must have noticed that something was going on at the mansion. Imagine that at the end, he chose to contact an adult asking for help which led to the discovery of the plot and the purge. Let’s not forget that Jihwa got info through Min who manipulated him. It is definitely possible that the second lead betrayed Yoon Seungho’s family, by revealing the gathered info he had and confided it to an adult, like for example lord Song, who took benefit from it. Although out of love, Jihwa desired to help his friend, he caused a purge leading to the death of many people and Yoon Seungho suffered even more, as he was sacrificed and abandoned by the father. Because he refused to abandon his childhood friend out of affection, he had the impression that he was responsible for this, thereby he felt so guilty that he repressed this. Why? Since the painter is the mirror of Jihwa, the manhwaworms can remember that Baek Na-Kyum also repressed the memories of the coercive persuasion.
And since I associated this manhwa to the Russian novel, Crime and punishment, I would like to remind that the main lead could only stop feeling remorse and regrets, the moment he admitted his crime. Let’s not forget that we have two confessions from Jihwa: 
(chapter 57) And if we look at the picture, the manhwaphiles can detect that Kim seemed to have the teenager’s trust. This is visible thanks to the domestic and Yoon Seungho’s gestures. They are talking to each other in a very natural way. We can conclude that they were close, especially if I include this panel in my examination. 
(chapter 57) The way the boy is looking up at Kim indicates that the main character is quite attached to him. And because of this scene, the manhwaworms could sense the domestic’s qualities: care, trust, affection and loyalty. But what many readers failed to realize is that servant Kim is actually following father Yoon in reality. This means that the elder master trusts this domestic. The latter is even the one who introduced the physician to the lord of the mansion.
(chapter 35) In this scene, the valet gives an order to his master and not an advice, since he employs the verb “must”. Why? Because he thinks, the letter was sent by the elder master. And Yoon Seung-Won knew that Kim was loyal to their father. Hence when he sent the letter, he used his father’s name and authority, but in order to maintain the illusion that father Yoon was the author, the brother also requested that valet Kim would bring back himself the reply. The deceitful brother used not only the butler’s fidelity to his advantage, but also gave the impression that father Yoon cared somehow for the black sheep. It was, as if the elder master was trying to rekindle with his older son. The readers can sense more his loyalty to the elder master, if they compare his reaction, when Yoon Seungho received the fake letter from lord Song.
(chapter 56) Here, the domestic got scared, by just hearing the name. Nevertheless, he gave his master the advice to postpone the meeting due to his health.
Yet, observe how he hides his discomfort and fear to his master by suggesting to postpone the meeting which exposes that he is hiding his true emotions. He justifies his advice by faking concern for his lord. Hence the lord can only have the impression, he is protecting his interest. Striking is that since we saw him scared, we have the impression that he is brave enough to propose not to the follow the invitation. My initial impression was to think that he got afraid of the name lord Song due to the lord’s traumatic past and he feared for his master’s mental health condition. However, the moment the valet realizes that the noble is on his way to meet this aristocrat, he gets so scared that he leaves the mansion immediately. So he doesn’t want them to meet. 
(chapter 56) Then in chapter 57, 
the butler expresses his worries concerning father Yoon. He doesn’t want the elder master to hear the news about Jihwa’s public confession, as the servant is well aware of father Yoon’s mentality. 
(chapter 57) Furthermore, as an infamous hell-raiser, no powerful noble would be interested in him. When the purge occurred, the son had become the sacrifice and scapegoat, hence he was forced to remain at the property. And now, you can grasp where the butler’s loyalty lies. He is faithful to the mansion and property, and not to Yoon Seungho or father Yoon in reality. This explicates why he lies to Seung-Won and tries to stop him from entering the lord’s chamber. As Seung-Won is only the second son, he is not considered as the lord of mansion, while father Yoon is the senior and is supposed to be the head of the family. Because he is bound to the domain Yoon, he is definitely acting more like a dog than like a matchmaker or a father. He is able to find his owner very quickly, as if he was following his scent.
(chapter 57) He barks like one, when he yells at Deok-Jae.
(chapter 47) He is also sent to fetch the painter, when the latter is somehow “abducted” by the scholar. 
(chapter 24) But the most conclusive evidence for this association is his rapport to the door. He is always shown next to an opened door or even often stands on the door threshold. 
(chapter 45) Since dog owners often put the sign “beware of the dog” on their door, you understand why I see it as an evidence that the valet is more as a dog than anything else. The butler is the guardian of the mansion, watching out for the owner’s safety. However, here we should comprehend it in a figurative sense. On the surface, the butler is looking out for the reputation of the Yoons, while in truth he is just focused on living a peaceful life far from trouble.
(chapter 64) The dog is not only a symbol for loyalty, but also it represents obedience and secrecy. He knows what is happening in the mansion, but he won’t let it transpire to the outside world. Therefore I deduce that valet Kim is quite similar to Jihwa. He knows the main lead’s whole past and tragedy, but he doesn’t truly feel sorry for the main character, for if he revealed the truth, because it would expose his culpability.
(chapter 26)
(chapter 26) He is leaving the artist behind, as he doesn’t want to be confronted with his wrongdoing: his passivity and cowardice. Then when he meets the protagonist in the main way, he sees his cold and distant gaze. So he knows that his master is in a bad mental condition, yet out of fear, he still leaves the artist behind, well aware that something bad could happen. That’s why he chose to intervene in the shadow (like for example, sending a servant to the scholar) so that I am now convinced that he even witnessed what happened to Yoon Seungho, but chose to close the door. There’s a reason for this assumption. First, he is connected to an opened door. Secondly, there’s this incident with the door in chapter 16.
(chapter 64) He resented valet Kim for his betrayal and abandonment. That’s why I believe, in that scene, Yoon Seungho is using the same words than his rapist from back then. 
(chapter 64) In this scene he is reliving his own traumatic past, the first rape. And after it had occurred the first time, the valet must have told him this: 
(chapter 65) Baek Na-Kyum is now the lord’s companion, while in the past he used to plot against him. In that moment, the valet recognized that ignorance is not a blessing, because this doesn’t erase the event. Observe that Kim has a similar approach than Jihwa again. Since the painter returned to Yoon Seungho’s side, the noble has now the feeling that nothing happened. For the first time, Kim sees the true face of his master 
Kim hates uproars, as they represent a source of danger for his life. As you can detect, the butler is determined to protect the Yoons’ notoriety, but out of selfish reasons. The manhwaphiles should remember that in chapter 17, he asks the maids not to approach the study like that. He is determined to keep everything under cover. He disapproves the master’s actions, as they are going against social norms. As a noble, he shouldn’t have a sexual intercourse with a low-born. That’s why he let the boy desert the mansion after the rape. He didn’t do it for the artist, but for his master’s respectability, because if this was known, then the valet’s good life would be in danger. Kim has deeply internalized social norms, any deviation represent a threat to his peaceful live. Moreover, he would attract attention again. But when he witnessed the master’s despair and fury after the escape, where all the servants had to suffer the result of his decision, he chose a different strategy. Back then, I described him as his matchmaker. He tried to present his master in a better light so that the artist would have a change of heart and accept Yoon Seungho’s advances. However, now I have to admit that I have a different judgement. He was not a real matchmaker, he was trying to turn the painter into a favored servant so that the appearances would be maintained. He decided to use a similar strategy, the aphrodisiac as a first step. And with all these new discoveries, I come to the deduction that the butler was a real accomplice of father Yoon’s schemes. If they became close sexually, the painter would become a servant and take over his role as close assistant. That way, his presence in the lord’s bedchamber could be explained. That’s why he lets the painter attend the noble during his illness and even allows his presence, when the doctor is here. In other words, he would like to hide the scandalous relationship with the low-born under the pretense that he is just a favored servant. 
. (chapter 45) First, it symbolized that the painter was more than just a favored favor. But more importantly, he never cared about the item, since 
(chapter 63) He is indeed a hypocrite, a selfish person,
(chapter 52) He was not the “wife”, the mistress of the house, just a servant. As you can observe, the butler is someone who abides to rules very strongly, he can’t accept a relationship between a low-born and a noble. That’s why I come to the conclusion that Valet Kim never understood the real needs of his master in the end. He never grasped that the noble was missing love and couldn’t cope with his betrayal in the end, because for him love is not important, only a peaceful life. And with this new approach, it becomes understandable why Yoon Seungho was never repulsed by the low-born. Since his childhood, he felt closeness to a commoner, and considered Kim as his father.
(chapter 50) This explicates why Yoon Seungho can’t trust Kim’s words in the end.
(chapter 62) In his eyes, he betrayed and abandoned him once, therefore it is definitely possible that he is lying. The longer the lord lives with the artist, the more he senses that Kim shouldn’t be trusted. This explicates why the lord’s relationship with the valet is deteriorating. In season 1, he never doubted Kim’s words, but now it has changed. The painter’s genuineness makes Yoon Seungho detect the butler’s fakeness and hypocrisy. And since the lord threatened him with the sword, I am envisaging that he will do it, the moment he feels that his loyal butler betrayed him. 
(chapter 45) The purpose of this action is simple. On the one hand, he gave the impression that he was protecting Yoon Seungho’s interest, on the other hand he was pushing the jealous servant to plot something so that Baek Na-Kyum would disappear. Kim was well aware of Jihwa’s visit in chapter 43. He knew that the second lead would do something out of jealousy. Kim needed the painter’s submissive attitude, as this could only affect his lord positively, turning the mansion into a golden cage. And while I envisaged that the shock Kim experienced during that night would make change his mind,
so much. Furthermore the sex in episode 64 is linked to immorality, shame and shock. 
He wants to eliminate the painter’s purity with this huge amount of sex. The more he has sex, the more he will destroy Baek Na-Kyum’s virtue and innocence and as such obtain his submission. He has the impression that by acting like that, he will get what he desires, not realizing that he is achieving the opposite. 
Here, the painter expressed the wish that the penetration should be deeper, he even asked for more roughness. All these sex scenes oozed sadness and violence. While in chapter 63, love was still present, the opening of the door marked a turning point. Kim’s presence triggers a memory deeply buried in the lord’s unconscious: Yoon Seungho’s first rape and the butler’s betrayal and abandonment. While all the readers, including myself, loathed Yoon Seungho for that terrible behavior, I only recognized afterwards why the lord changed one more time. He became even crueler and more brutal in that episode due to the valet’s appearance and presence. 
(chapter 45) 
(chapter 43) While Baek Na-Kyum’s problem is sex, Jihwa’s struggle will be crime, like trespassing, abduction and murder. Like I had already mentioned it in another analysis, crane is connected to happiness, honor, longevity and good fortune. However, this doesn’t signify that the person embodied by the crane encounters good fortune. Due to Baek Na-Kyum, the second Justine, the red-haired aristocrat is forced to change and Nameless becomes his guide. 
That’s why Jihwa will play a different role than the commoner. Jihwa’s fate will be connected to justice, but he will suffer and his tormenter and liberator will be Nameless. The red-haired aristocrat is ignoring true moral values like charity, selflessness and justice, while his unconscious has not forgotten it. This will be his inner struggle, while Baek Na-Kyum was rejecting sex, connecting it to something dirty. Furthermore, unlike in the French novel from the 18th Century, where evilness and injustice win at the end, as the heroine dies, the manhwaphiles witness in the manhwa the spiritual death of the culprit, Yoon Seungho. This is represented by the following panel: 
(chapter 5) This marks the return of his older self, but a worse version, as there is no light. The yellow bougie on the candelabra is a symbol for coldness, frigidity and selfishness. Yet, since there is no light in chapter 64, the absence of light is a metaphor for the non-existence of life. In other words, we are witnessing the death of the phoenix. When I say that this is his spiritual death, it signifies that the lord’s heart is no longer beating for the painter. He closed his heart, and since the heart was in possession of his mind, this means that neither his heart nor his mind are alive. Yet, the manhwaphiles shouldn’t misunderstand me. I am not saying that Yoon Seungho’s love for Baek Na-Kyum vanished for good. It’s just that his self-hatred has taken over his mind and heart, therefore he is not able to give any love and warmth to his lover. 
Now, you understand the signification of chapter 64. The latter doesn’t reveal his true personality, the violent and obsessed side to the painter
But instead of assuming his responsibility, he acts exactly like in the past. He acts, as if nothing was happening and runs away. The only difference is that he can not make the painter feel guilty. This is important, because Baek Na-Kyum is not pushed to repress the incident. The painter won’t forget his behavior… exactly like during the night of the rape at the pavilion. Back then, he only reproached that he never revealed the truth. Yet during that night, he experienced his cowardice and abandonment. The painter is very sensitive concerning abandonment. 
They will condemn the lord Yoon like Jihwa, because they became the victims of lord’s fury and despair. Due to his obsession with the painter, his domestics behaved like ruffians towards the inhabitants. This is quite similar to the scene in chapter 30, where his staff had to experience the lord’s brutality. 
We have to understand them. They were desperate to please their master, as they feared his brutality. They didn’t want to experience another huge beating. And the tailor plays a huge role in the birth of the huge scandal. 
With his small action, he will trigger a huge storm, so that the lord’s reputation as alpha and king will be literally destroyed. Therefore from my point of view, we are witnessing the lord’s gradual death. Despite his bad reputation, the inhabitants never avoided Yoon Seungho in the past, as he had money and connections. However, we shouldn’t forget the incident in chapter 54, where he evicted the nobles. The latter will no longer respect the powerful lord, and the chapter 64 announces that the protagonist will first lose the inhabitants’ support. He will truly become an outcast. One might argue that he already had a bad reputation as hell-raiser, yet with this scandal, there’s no ambiguity that no officials and no merchants will like to be connected with him. But this situation is just short-lived, because after the scandal, the main lead becomes tranquil again. The absence of a new scandal for 2 weeks and his attitude towards the painter in chapter 76 display that Yoon Seungho is able to get the town folks’ support like in the beginning. They definitely judge him as a reformed man. This explicates why the shop owner is still showing respect towards the master. 
(chapter 76)
What caught my attention is the absence of the painter’s blushing and the disappearance of tears. These two panels represent the final blow to the painter. And he will remember this gesture, just like he could recall the embrace and kiss from chapter 42.
That’s why the yellow candle is also a metaphor for the painter.
I believe that he didn’t cry after that night. And the manhwaphiles can note the vanishing of the painter’s physical reactions, if you compare it to the sex scene in the barn
or in front of the storage room. 
The painter is still blushing and ejaculates. And the interpretation from my previous analysis was correct. The scene with the storage room is a combination of the sex marathon and the chapters 40-41-42. Here, the absence of the kiss is similar to the scholar’s words: 
However, there are two contrasts. First, the outcome will be different. Secondly, the lord treats the painter as his plaything now, and not as a prostitute.
Notice the parallels. We have the return of the yellow candle on a candlestick, then the treatment is similar to the first chapter, where Baek Na-Kyum was kept captive in the barn.
In chapter 1, the room was bright contrasting to the darkness in the storage room in chapter 62-63. Back then the main character was intelligent and cunning, as he was not aware of the influence of his heart. From chapter 62 on, the lord is no longer in possession of his smart and bright mind, as the darkness of his heart has taken possession of his mind. Yet, since the painter was able to hear and see the lord’s love on two occasions, 
the artist will recover from the wound afflicted during that night. Unlike the scholar, who never declared his love for him and just hoped that he would change into a person without a sex life, the noble expressed his wish to be the cause of the painter’s happiness. Therefore the new version of chapter 40 will have the opposite outcome. The painter’s spirit won’t be so devastated like before. He has already experienced the noble’s love. On the other hand, the painter stopped painting after that night. 
From my point of view, this second marathon has affected his creativity. He couldn’t paint due to his injury, but he remembered the orchid from Yoon Seungho. In my opinion, the lord’s words from that night 
(chapter 64)
(chapter 75) And now, you grasp why the author is tormenting our main lead. His function is to liberate Yoon Seungho, but for that, he needs to go through the same pain and wounds. By destroying the artist, he kills himself in the end. This explicates why the yellow bougie represent the two protagonists in chapter 64: 
(chapter 66). There’s no ambiguity that in that moment, Yoon Seungho blamed himself for the artist’s flashback, until the abduction was unveiled. But the artist experiences a rebirth… as a painter. He won’t create any erotic painting in my opinion forcing the noble to create erotic pictures. But naturally this is just a theory. The reason for this is that we have the presence of the brushes under Yoon Seungho’s head. 
His dream became real. I perceive this scene as the evidence that Jihwa’s role is quite similar to the artist’s. The latter’s dreams always turned into reality. But there’s more to it. Now, I comprehend the meaning of the following images differently.
The painter’s dead gaze is the reason for the main character to have dark eyes. Observe that the noble’s hand is holding the painter’s head, indicating that the lord is responsible for the artist’s spiritual death. The darkness of Yoon Seungho’s heart was brought to the surface due to Jihwa’s action. Due to his misdeed, he caused the noble to become oblivious of the truth, his gaze is covered by a shadow. As you can observe, the new episode gives us the opportunity to perceive Jihwa’s prediction under a new light. That’s why Baek Na-Kyum is able to move on from the scholar.
Secondly, I couldn’t restrain myself thinking about the butterfly effect. While many readers were mad at Yoon Seungho for his brutality and ruthlessness in chapter 64, they seemed to have forgotten that everything happened because of Jihwa’s action. The latter let the painter kidnapped. Nonetheless since he was returned, in Nameless and the red-haired aristocrat’s mind, nothing had happened. A small change, and yet it destroys the fragile relationship between the two protagonists, affects the bond between Yoon Seungho and Kim and ruins the lord’s image in the town. Jihwa’s greed and jealousy led to the main lead’s self-destruction. Sure, the lord is not innocent either. Therefore he will be punished. The main lead loses everything: Baek Na-Kyum’s trust, his “life” and even his position as lord of the mansion. Their “spiritual” death is his punishment. That’s why I believe that Jihwa has not met his karma yet. He will definitely suffer just the painter and will be punished. So far, he has not been exposed to physical and sexual violence, that’s why I am now predicting this. The relationship between Jihwa and Nameless won’t be romantic. Jihwa will see the butcher’s true face at some point. 
and once they meet, the artist affects him and his life. A small creature, like the butterfly, brings huge transformation to the people around him: Jung In-Hun, the valet Kim, the servants, Deok-Jae, the nobles and Jihwa. Note that in chapter 8, Min met the artist for the time and awoke lust and desires in him. That’s why he started challenging the main lead. And since Jihwa is the noble version of the painter, we can conclude that Jihwa plays a similar function in the end. He brings transformation, positive and negative, just like Baek Na-Kyum, but to Nameless and Yoon Seungho. And this is no coincidence that the butterfly is a symbol for transformation and temporality. 
He follows the lord till the end, never rebelling which contrasts to the painter’s behavior during the first season. He won’t even try to run away after that night, as he will keep his promise. However, this new vow is not without consequence. 
(chapter 69) Due to this panel, it becomes obvious that Heena noona will behave the same way than Jihwa in the end, though the roles have been switched. Her brother has been seduced by a witch and he needs assistance. She will do anything in order to save her brother, unaware that she will be the cause for her brother’s misery. While I thought in the past that Kim embodied the saying “the road to hell is paved with good intentions”, I came to recognize that this bible quote fits Heena noona’s personality. And this would definitely reinforce my interpretation that the kisaeng is a Christian.
signifies that Baek Na-Kyum is indeed connected to power in the end. Since I consider him as a phoenix, this could be an indication that he could be more than just a filthy low-born, like Jihwa and Jung In-Hun imagined. 
(chapter 31) Consequently in chapter 34, the painter sensed a change of perception about his body after the sex marathon. For the first time, he detected his heartbeat and the butterflies in his stomach, which were triggered by the main lead’s presence.
(chapter 34) The parallels can be observed by the absence of the eyes of the protagonists in certain panels. Compare the picture with the mirror 
(chapter 63) Striking is that the character represented with eyes plays the role of the liberator for his sex partner. Due to the sex marathon, Yoon Seungho had helped the painter to free himself from his torpor, since due to the coercive persuasion, the artist had come to deny not only his sexual orientation, but also the existence of his own body. That’s why he could no longer admire his learned sir like before after the sex marathon. By recognizing the existence of his own body, the painter couldn’t feel the same attraction towards the teacher. And since the sex marathon played a huge role in his healing process, we have to imagine that the sex scene in the barn has the same signification for Yoon Seungho. He is on his way to be liberated from his self-hatred, but as you can imagine, it will be a painful process. Back then, the painter got ill and the lord ran away from his responsibility. That’s why this time, the blinded person will be the one suffering from the sex marathon: he will feel like dying, when he realizes that he wounded his lover blinded by his prejudice and anxieties. 
(chapter 63) He has no guarantee that this is true, and love is like a leap of faith. This isn’t something that you can grasp or see. Besides, he would have no control over him, if he accepts the confession. Loving means taking risks, which is linked to fears. This displays how much the master has been brainwashed. Since the painter disappeared in his mind, he came to acknowledge his father’s doctrines one more time before dropping them completely, when he discovers the truth. 
(chapter 63) 
(chapter 65)
(chapter 69) He had ruined his relationship with the artist. Because he refused to make the leap of faith in the shed, Yoon Seungho decided to make the opposite choice. He let the painter decide about his own fate, yet he was definitely living in agony. The wounded, fearful and desperate gaze revealed his turmoil. 
(chapter 69) In my eyes, the absence of the lord’s eyes during the night of revelations stands in opposition to the lord’s gaze full of expressions in chapter 69. Note that in that episode, the author always drew his eyes, underlining that now the noble was using his own eyes finally. He is no longer relying on Kim and his information. I was also right that this night would affect Yoon Seungho’s relationship with the valet, yet I didn’t expect, it would unveil his true personality. For me, this second sex marathon was a real eye-opener: it made me recognize Kim’s hypocrisy and cowardice. From that moment on, I could no longer view him as a real father figure.
He rejected his concern and yelled at him. In chapters 62-63, the positions are switched. Yoon Seungho is the one upset and pained, since he is convinced that the artist abandoned him, therefore his anger is aiming at the commoner. Yet, the true culprit of his wound is his childhood friend Jihwa. Simultaneously both have a common point: Baek Na-Kyum gets hurt, because he becomes the target of Yoon Seungho’s anger, while in chapter 40, he is backstabbed by his admired sir and used the master to get some comfort. Yet, the situation is similar, as the real culprits of the wound never witness the consequence of their actions and words. 
(chapter 63) And if we take the chapter 41/42 into consideration, the painter did request that the lord should be particularly rough.
(chapter 42) As you can see, the chapter 40 can not be really detached from the sex scene which follows the teacher’s betrayal. Another contradiction is that the painter is just asking the lord to stop, since Baek Na-Kyum is exhausted, while the aristocrat believes that the commoner is pushing him away, begging him to let him go for good.
(chapter 63) But this divergence comes from the fact that this scene is a new version of the sex marathon, which I mentioned above. Back then, the painter made a similar request. As conclusion, the violence of the sex in chapter 62-63 is strongly connected to an emotional wound, a repetition of chapter 41/42. And in my opinion, the artist understood the situation and the lord’s motivation. Hence he doesn’t feel badly about Yoon Seungho. Notice that the next night, Baek Na-Kyum doesn’t think badly of this sex marathon. 
(chapter 40) 
(chapter 63) What caught my attention is the contrast between the two declarations. While the artist’s feelings for his admired sir seem to be very strong (I adore you), his words don’t really correspond to his affection, because his feelings have already diminished. He did lie to his teacher and protected the main lead in chapter 38. That’s why the “I adore you” should be judged as an exaggeration. It was, as though the painter desired to convince himself and his teacher that he was still attached to him. Besides, he needed to persuade him not to abandon him, after hearing so many reproaches. This observation leads me to the conclusion that Baek Na-Kyum made up his mind to still follow his teacher out of loyalty despite the harshness of Jung In-Hun’s words. On the other hand, the author used a litotes (“I do not dislike you”), implying that in fact his attachment is much stronger. And this is exactly what happens during this scene. Despite the harshness, the painter is forced to question his true feelings for the main lead and recognize them. He is even willing to confess, yet he is stopped. I doubt that Yoon Seungho would have perceived it as a love confession, as he hates meek words. I can use this panel as a reminder:
(chapter 48). Yoon Seungho is exactly like the painter, he loves strong and metaphorical confessions, like “you’ve made me a wreck” or “I will never let you go”. But let’s return our attention the scholar and Yoon Seungho. Both nobles act the same way. Both can’t accept the artist’s declaration, yet their motivation diverges. The teacher finds it disgusting to be connected to a commoner, whereas Yoon Seungho is too afraid of being lied. He has the impression that this dream can never come true. Yet, while contrasting them, we see the painter’s determination who is willing to overlook the reproaches expressed before by both aristocrats. And he remains faithful till the end. That’s why he waited for Jung In-Hun at the gate in episode 44. 
He needed to see with his own eyes, how the learned sir had truly abandoned him. This represents another explication why the low-born didn’t react like Kim and Min anticipated. He didn’t follow his sister out of loyalty, compassion and a certain trust. However, Heena noona was able to sow seeds of doubts. 
(chapter 40) In this picture, the scholar leaves the painter behind, a metaphor for his abandonment. He even repeats this action, when he leaves for the capital. In chapter 62-63, Yoon Seungho sees in the commoner’s escape a rejection and betrayal. 
(chapter 62) This panel illustrates the thoughts of the protagonist: the commoner has turned his back on him.
(chapter 40)
(chapter 40) 
(chapter 62) 
(chapter 63) In both cases, the aristocrats questions the commoner’s motivations for his actions. While Jung In-Hun’s interrogation serves him as an occasion to break his promise by putting the blame on Baek Na-Kyum, the other character is more curious to know about the reasons for his desertion. From my point of view, this shows the noble’s desire to comprehend the painter better. And this illustrates that his obsession with the “why” is well meant. Why is he pushing him away? If he knows the cause, he could find a solution in order to bring the painter to his side. 
(chapter 40) The painter became happy, when he heard that the civil service examination would take place soon. He immediately thought of his learned sir and envisioned that this would please his former teacher. Jung In-Hun’s excitement became the painter’s joy, this is how the painter was thinking in that scene. 
(chapter 40) 
(chapter 29) By contrasting both panels from chapter 40, the readers can detect the painter’s lie. He expects something from the low noble. He is indeed hoping that Jung In-Hun will keep his promise and he will take his responsibility for him, since the painter supported him. 
(chapter 40) The former had Yoon Seungho’s attention all the time, and we all know that Jung In-Hun’s desire is to get attention and admiration. Striking is that the comparison enlightens the materialistic and narcissistic side of Jung In-Hun, while Yoon Seungho appears purer. He is just content with a smile. Besides, he would like to be the source and recipient of Baek Na-Kyum’s smile, whereas the other wishes to get favors (clothes, a room closer to the lord’s chamber, the favor to spend the evening in the bedchamber etc). That’s why by contrasting both chapters, the protagonist’s purity and simplicity become even more palpable, which is hidden due to the violence employed during that confrontation. 
Furthermore, if we take the chapter 41 into consideration, since we have a flashback of the incident at the library,
then the readers can recall that in this episode, Baek Na-Kyum was so heartbroken that he asked from Yoon Seungho to be embraced. He needed a shoulder as solace and comfort. The low-born literally begged him, while crying to be hold in his arms, but the noble didn’t know how to respond to this request.
(chapter 41) He only knew sex. In chapter 62, the lord hold the artist in his arms, only to betray him afterwards. The warmth is faked. 
(chapter 62) Yet, if you pay attention, you’ll observe a second hug in the barn: 
(chapter 40) while in chapter 63, it is the turn of our seme to reveal his expectations and desires. 
,(chapter 62) while the scholar calls the artist a fool
. (chapter 41) He is just jealous, furious and repulsed. Yoon Seungho is seeking closeness and uses sex in order achieve his goal, therefore he is is refusing to stop. He is so desperate to remain intimate with the painter, while the other noble has only one thought: keeping his distance from the low-born. 
(chapter 63) and words 
(chapter 63) have a huge effect on the upset protagonist. They trigger the noble to open up and reveal himself. That’s why the chapter ends with a face to face: the aristocrat is not decided to look at the painter’s eyes directly. 
(chapter 40)
(chapter 62) 
(chapter 62) 
(chapter 71) and Yoon Seungho’s outburst 
(chapter 70). Furthermore, when the painter is able to calm down the main lead by calling his name “Lord Seungho” and showing a blushed face, the aristocrat initiates a real conversation 
(chapter 62) 
(chapter 71) There was a “love confession” in the barn, but the lord didn’t use the typical expression for that: 
(chapter 76). The only problem is that Baek Na-Kyum is still fearing his own emotions for the infamous noble. Therefore he has not confessed yet, which will be the reason why both main leads will suffer again. The painter has just opened up and is not trusting Yoon Seungho entirely. 
(chapter 37) The younger brother was taught his father’s principles too, but unlike Yoon Seungho, the younger brother is NOT living according to their father’s rules. This means that he is living differently. And now we have to question this: how is his life different? 
And notice the brother’s embarrassment. He avoids his brother’s gaze. He can not deny it, for if he did, he would have to reveal the true identity of the “pedophile”. Hence the younger master is humiliated. The younger master can not argue with this point. That’s the reason why I come to the conclusion that the brother has already internalized his father’s values: Yoon Seungho should keep working for the family, like he did in the past. He should use his connection. He is truly viewing his brother as an accessory for the family’s benefit. And it is time to examine the chapter 37 one more time. In the first composition, I had demonstrated that the brother was selfish, insensitive and quite arrogant, since he never asked his brother about his well-being. All his business mattered. But I can add more layers to his description and it starts with the way he was introduced.
(chapter 37) However, I can bring up another evidence for this conclusion: the fake letter from lord Song.
(chapter 13), Yoon Seung-Won was asked by the father to restore the family’s influence. But since he had witnessed how his father obtained his support, he thought, he could employ the same method: using Yoon Seungho. One might argue that the poor boy is pressured now by father Yoon and the weight of the expectations can be extremely burdensome. However, here I would like to point out that unlike the main lead, Yoon Seung-Won was never trapped in the mansion and not hindered to participate in the service civil examination. Furthermore, he was never exposed to any kind of violence. He was allowed to roam freely, yet in my opinion, all this time the younger master relied on his father’s power and influence. Seeing that the letters didn’t provoke any reaction, the young noble paid the lord a visit, as he was pressured by the time. And what caught my attention is that once asked about the motive of his visit, he replied to the main character: 
(chapter 37) He mentioned his father directly, but he never answered to the question properly, since he didn’t announce the true reason for his visit. Why? Since he used the name of his father in the letters and in the conversation, I can only deduce that the brother knows the true power of father Yoon over the main character. He is actually playing with the protagonist’s fear and he knows it too well. Notice his hands: they show a certain discomfort, indicating that he is well aware of the signification of his words. One might argue that he has been pressured by the father and he is just a pawn. To this, I can only retort that he is doing the same to his brother. By asking him to visit their father, he is not just requesting from his brother to reconnect with their family, but also to submit himself to father Yoon. In other words, the elder master could utilize Yoon Seungho’s connections and wealth for their family’s interest. Besides, this would signify that the father would become the main lead’s pimp again. As the new head of the family, father Yoon could decide to treat his eldest son like in the past. And if my theory of the incest is correct, then this means that Yoon Seung-Won is asking his brother to relive a hell again. This is not surprising that the lord gets upset and becomes cynical: 
(chapter 37) Who would accept such a suggestion after getting treated like an sex toy, a prisoner and as a pariah at the end? And now envision that Yoon Seungho has been exposed to physical and sexual abuse because of his father. This scene reveals the selfishness and cowardice of the brother. This is not surprising that the lord clenches his fist, and his hand is shaking: there’s definitely fear due to the father and anger towards his brother. Yoon Seung-Won knows his father’s rules, but he doesn’t desire to apply them, as he is well aware of the meaning. And now the following panel gets another significance:
He desires to have a private conversation and suggests his brother to send away the painter. His reason is simple: he would like to appeal to his brother’s compassion, he must be in a rather difficult situation. His father is now relying on him. But since the master of the mansion is not following this suggestion, the brother chooses to mention the father. The illness is an excuse, but Yoon Seung-Won is determined to maintain his image as a loyal and honorable son. Yet, like I pointed out earlier, the true intention with the father’s evocation is to put Yoon Seungho under pressure. And now, I would like to bring another evidence that the younger master is well aware of his brother’s fear in front of their father. He witnessed the constant abuse, and as such he noticed and internalized the brother’s anxieties. Remember that the moment Jihwa heard that the brother had visited Yoon Seungho, Jihwa chose to rush to his childhood friend’s mansion. Why? He knew that Yoon Seung-Won’s visitation would torment the main lead and provoke nightmares, indicating that this must have happened in the past well. And since the main lead is connecting his brother to his past trauma, then this reveals that the younger master is related to the protagonist’s suffering. Why? In my opinion, Yoon Seung-Won must have been favored all this time, whereas the powerful noble was just treated like a servant. In other words, even if the younger brother was weak as well, he never tried to help his brother behind his father’s back. This explains the resent from the protagonist. He can never consider him as a relative. Let’s not forget that when the elder master moved from the house, only valet Kim remained by the main lead’s side, showing that all the other servants sided with Yoon Seung-Won and the father. 
(chapter 37), while in reality he is just a hypocrite. I would even add, he is quite immoral. He lies about the illness, fakes letters in the sense that he uses his father’s name and authority. Then he utilizes social norms (“the right thing”), though he is well aware what the visit would mean for his brother. I also perceive an evidence of father Yoon’s influence in the younger master’s behavior: his words and behavior. Remember that I connected the lies to the protagonist’s dissociative episodes, indicating that the elder master must have punished his eldest son, when he imagined that he had been lied to. Observe the reaction Yoon Seung-Won has, when he realizes that Kim has been lying to him: 
(chapter 37)He gets outraged and yelled to the butler, although he is not the lord of the mansion. Striking is that he would have opened the door
(chapter 37), if the painter hadn’t screamed through the door. Not recognizing the voice from the inside, the young man got surprised and stopped. And this single gesture outlines his disrespect towards his elder brother in reality. I had already observed his selfishness and lack of sensitivity, but with the new elements, I can definitely determine that the younger brother has indeed internalized father Yoon’s values. He treats servants and commoners like people with no right. His tone is quite strict, authoritative and rude.
(chapter 37) This is not surprising that he requests his brother’s assistance in the end. He has experienced it first hand, has envisioned that through his father’s influence, he could manipulate the brother and get benefit from his increased fortune and influence. However, this time the lord didn’t follow his suggestion, since he has already started moving on. In fact, the younger lord was mocked through the main character’s following suggestion: Yoon Seung-Won should also live according to their father’s principles. 
(chapter 38) This reinforces the immorality and ruthlessness of the brother’s suggestion. With the letter, Yoon Seung-Won has the impression that in the end, the main lead bent to his will. This means that he is ignoring his brother’s reproach and rejection. But since the brother used their father’s name in order to approach his brother, it looks like, it was Yoon Seung-Won’s decision to utilize the brother. Even if this idea is not correct, and the father did use the younger son as a pawn to approach Yoon Seungho, this doesn’t diminish the atrocity of the younger master’s gesture. He is not just a pawn, but a real accomplice, because he knows his past but prefers his own comfort over his brother’s life. However, let’s not forget that during their conversation, the younger brother never spoke in the father’s name, like for example: “Father Yoon desires to reconnect with you and asks for a visit from you”. Even that way, the father’s honor would have been maintained, since the main lead was asked to pay a visit to their father unofficially. My final point for this interpretation is the importance of reputation in father Yoon’s eyes. The latter chose to act behind closed doors and maintain his image as a respectable aristocrat. By sending letters to his eldest son who is well-known in the mansion as an infamous sodomite, his image as strong lord is kind of tarnished. He is the one asking for help from his son… a humiliation in his eyes. Now, you can better comprehend why I believe that Yoon Seung-Won is not just a pawn in reality. 
That’s why he said this to the servant. By putting the blame on his older brother, he excuses his father’s behavior for not showing more concern for him. He didn’t leave the bedchamber in order to bid farewell, because the lord had been troubled due to Yoon Seungho. The latter serves again as an excuse to save the appearances. By giving the ruined painting, Yoon Seungho was indeed determined to provoke his father. He shows him his hypocrisy and the consequences of his principles. At the same time, the ruined painting illustrates his message: the Yoon family will never get a benefit from his sexual performances (“damaged image”). 
(chapter 37) Here, he envisioned that the lord’s companion was a noble due to the green hanbok. He is definitely more than just a pawn, in my eyes he has become a willing helper of father Yoon’s dictatorship, since he could profit from his situation. He is like an indoctrinated child, since he behaves like his father in a certain way. On the other hand, he has not completely lost a certain sense of morality. Since he is showing a certain discomfort during the conversation in chapter 37, it displays that he recognizes the wrongness of his request. But his interests are prioritized over his brother’s well-being. Another aspect is that he is not so brutal compared to his model, Father Yoon. But he has a common denominator with the elder master. He is also quite naïve. Hence Yoon Seungho could see right through his brother and his lies, just like the father. The master of the domain was well aware of the true purpose of his younger brother’s visitation: sponsoring. In the end, the younger master is forced to take the exam, like the scholar Jung In-Hun. I had imagined that their paths would cross, unaware that the learned sir would die before. There’s no ambiguity that Yoon Seung-Won would get annoyed and humiliated to hear that his brother chose a scholar with no connection and wealth over him. 
and words remind us more of obsession than of love. First he corners the painter against the wall, making him visualize what his future situation will look like. He won’t be able to escape from Yoon Seungho’s control and monitoring. The lord will always stand within his reach. Secondly, the expression “I will never let you go” indicates that the rich main lead will cling onto him, he will remain sexually close to him. That’s why they are still connected through their bodies. By clinging onto the artist, the aristocrat reveals his dependency. He can’t live without the painter, hence all his thoughts are revolving around him. This definitely looks like an obsession. The reason is simple. Baek Na-Kyum has now given a certain sense in his life, his presence makes him feel emotions, positive 
(chapter 57)
(chapter 61) 
(chapter 74). Then he was raped in the shed and butler Kim was a witness who betrayed and abandoned him.
(chapter 74) Consequently, I come to the conclusion that this statement
However, now I believe that the real sexual predator was the king himself, who was definitely an old-bearded man. Since he is mentioned in episode 76
, it becomes more obvious that Yoon Seungho’s tragic fate is intertwined with the monarch. Therefore I deduce this. The king is a combination of Jung In-Hun and father Yoon. He’s an arrogant, stupid, selfish, emotional, violent, jealous, impulsive and obsessive man. Why? First, jealousy is a common denominator between the two fathers, like it is palpable in the following panel: 
Yet, the disgust for sodomy is not a real argument in reality. In order to collaborate my theory, I will introduce another manhwa called “Dine With A Vampire”, created by Pangin and Pinko. The characters serves as an example. 
, although the former hates homosexuality
. Just like Jung In-Hun, Sungha is a hypocrite. Yet, he abused his schoolmate physically 
and sexually for so long that at the end, the main lead became a shadow of himself, a zombie. Therefore there was no light in his eyes. 
Kwon Sungha resents the protagonist, because he can’t accept his own sexual orientation and blames the poor uke. That’s why the antagonist is rough and violent during the intercourses. 
He even shows some sadistic tendencies, because he enjoys it very much, when the victim is crying due to pain.
Therefore it signifies that each time the main character sheds some tears, his behavior will incite the seme to become more brutal. As a result, it is better to repress tears. 
Each time, he tried to run away, he was caught and tormented even more than before.
His life is already controlled by Sungha, who tells what he has to eat
, how he has to dress and when he should come home. 
The villain is ruling Sooin’s life like a vicious tyrant. 
He is reliving his past. Notice how he avoids the other main lead’s gaze. He hides his eyes behind his arms and apologizes to his lover. He is already imagining that he will get punished. His behavior is so conditioned that in order to escape a punishment, he apologizes, although he knows that Sungha is dead. Even in his sleep, he is plagued with nightmares. 
As a conclusion, Sooin is not allowed to touch him. As you can envisage, Sooin is never kissed nor hugged. However, despite his hatred for sodomy and the abuse, he is not willing to give up on his sexual partner. He is so obsessed with Sooin that he even envisions to keep him captive in a cage, though he plans to marry a woman coming from an influential family. The irony is that after getting betrayed by the main lead, the former “lover” is not questioning the reason behind the treachery. In fact he blames Sooin for everything. He reproached him that the latter never smiled in front of him
, but now he is giving his smile towards another man. The antagonist, who has now become a vampire himself, definitely perceives the uke as his possession. The description of Sungha’s behavior indicates that Sooin was his obsession, but not his love. 
Moreover, the main character is dressed like his father. Both wear a robe with long sleeves without any pattern and even the color is quite similar in the beginning. 
and he was the source of happiness of his partner, something he has never heard before. Neither his father nor his “sexual partner” embraced him. Why? In my opinion, it is linked to the way the lord was offered to the king.
in chapter 74 takes place in the mansion: 
that’s why he couldn’t yell or defend himself. Who could help him in front of the most powerful person in Joseon? He was like a low-born next to the monarch.
And since we have a repetition in the story, it means that this must have happened in the past. Besides, I doubt that father Yoon would have questioned such a behavior. He definitely hated Yoon Seungho’s strong will. Consequently, I believe that the king must have had a similar attitude. He wanted to obtain the main lead’s love, yet unlike Yoon Seungho, the king became violent and angry by such a submissive behavior, which could only contribute to the protagonist’s silence and fear. 
(chapter 60). Besides, the readers should remember that the main lead tasked the artist to paint his sexual intercourses, therefore it is definitely possible that Yoon Seungho’s request was influenced by the king’s. The latter could have had the desire to have his sexual intercourses with Yoon Seungho portrayed as well. However, since father Yoon hates sodomy and doesn’t want to be associate to this, he had every reason to hate the painter. The pictures were a proof of the eldest master’s hypocrisy. 
, therefore I am expecting the opposite with the king. The latter imagined that they would send him a virgin. Besides, it is a custom to send virgin concubines to the ruler.
“Imagine… the poor boy was gangraped by the families close to father Yoon.” But he never mentioned the training, as Kim’s MO is always to tell half-truths. This would divert attention from the other perpetrators. When the king confronted Yoon Seungho, the latter couldn’t reveal what had truly happened, because this would mean that his father was involved. Hence he remained silent, which was perceived as a confession. As a revenge for the dirty trick, the ruler ordered the purge which the main lead had to witness. The latter was so devastated that he was literally destroyed. The king didn’t expect such a reaction, hence he sent him back to the mansion, only to hear later that father Yoon had punished his own son. The latter believed that the main character had betrayed him by revealing the indoctrination and prostitution. 
If he was so obsessed with the main lead (mind and heart) to the point he wanted to keep him away from others, then he would have never used him as a whore. However, even this point can be refuted. First, even Jung In-Hun, who hated homosexuality, was willing to betray his own doctrines for his own interests. Let’s not forget that in the other manhwa “Dine with a vampire”, the antagonist has no problem to use his sex partner for his own interests. In one incident, he makes sure that Sooin interrupts him with his girlfriend, so that the villain is not forced to have sex with her. At the same time, he uses this as an excuse to punish the uke. Furthermore, I portrayed father Yoon as especially greedy and ambitious, hence despite his jealousy and obsession, he had a big dream. Besides, he hates sodomy so by using his son as a prostitute, he can remain clean and perceives his son as dirty, since he is the source of his “misery”. As for the king, notice that the latter doesn’t have a bad reputation. This shows that his sexual orientation and even perversion is a secret. The king could have a similar attitude than Sungha: he hates homosexuality, but he can’t stop his urges. So for his own career, father Yoon taught his son that sex is a battle, therefore he described love as a weakness. However he made him believe that if he obeyed him, then he would benefit him: 
Only the father was somehow able to control him. That way, he would bind his son’s mind and heart to him. This would explicate why the lord chose to become as a ghost in the end. Imagine, he had been ripped apart by his own father and by the king. The body was possessed by the other nobles, while the father was still possessing his mind and heart. He had no freedom at all. After writing this, I feel so horrible. Father Yoon was definitely ruling his son’s life and the monarch tried to change this, but failed as he was himself too selfish, violent and ruthless. 
is the expression Yoon Seungho used himself in the past, when he had displeased his father and the sovereign, or even worse, when he got caught after his escape attempt. This would explain why he saw it as a confirmation for the painter’s flee. He was definitely sent back to his past, therefore he turned into the shadow of his father and the king. That’s why when the painter started confessing,
With these words, the lord is actually questioning the reason for the painter’s behavior. Why did he push away the lord before? The artist replied that this had nothing to do with him, he didn’t dislike it. Then in chapter 40 and 41, he pushed the painter to question his own motivation. Why would he support his former teacher? What does he expect from him? Then we have the chapters 45 and 47, where the main character keeps asking about the artist’s reason for his behavior. Why did he remain by his side? Why is he so indifferent and submissive unlike in the past? I judge it as his obsession and there’s a reason for that. Sure, one might say that he would like to know why the painter stayed by his side. He is so desperate to be loved, he is still wishing to feel loved. However, there’s another motivation behind this obsession. In my opinion, this obsession to the “why” is related to his past and as such to his father and the king. He saw his negative reflection in his father’s eyes, the man he wanted to please at any cost. He must have wondered why his father tormented him so much, why he betrayed him, why he lied to him, why he was so fixated on him, since he had the impression that he was unlovable and even a monstrosity. The lord must have been young back then to perceive his father’s true motivations: jealousy, obsession and his immense greed and ambition. And after being sent to the capital, he met a similar person: the ruler who didn’t treat him better.
And this actually shows that when he was the uke, no one cleaned him. He had to do it himself. That’s how he learned the basics. 
, therefore he refused to become a vampire. His goal in his life was to help the vampire, however this could not be right. Sooin and Yoon Seungho needed to love themselves, so that they could become independent and love their partner. The moment Yoon Seungho treated the painter with respect, the latter showed more confidence again. He could play pranks again. As long as they were full of insecurities, they could never love their partner properly. 
This panel comes from chapter 62, and here what caught my attention is the dimension of the house compared to the sky and the moon. In the former similar pictures, it was the opposite. 
(chapter 33). Besides, the moon was rather in the center of the image. 
(chapter 47) In my opinion, the painter could definitely confront him with his own lies, just like he did in chapter 26.
The physical separation indicates his fear to reveal his true emotions. He definitely views this as a weakness and has the impression that he is exposed to danger. He is definitely protecting his heart by maintaining a space between them. 
In the second love declaration, the noble trapped the painter under his body displaying his fear that the painter might run away after a love confession from him. As you can observe, both love confessions had a huge difference. On the one side, the master encouraged the low-born to desert the mansion by opening the door and keeping his distance from Baek Na-Kyum. During the second love confession, Yoon Seungho was no longer willing to accept the artist’s escape. Since he had admitted his feelings and as such his dependency, the painter was forced to remain by his side. He had no other choice than to obey to his master. 
(chapter 62) For the first time, he hears Baek Na-Kyum’s heart, yet he is not ready to face the artist. This illustrates his huge insecurities. The main lead fears his own reflection. Nevertheless, in episode 63, this is totally different, as for the first time, the lord is looking at Baek Na-Kyum’s face directly, while admitting his dependency on the commoner.
He is emotionally unstable, because he had been forced to reveal his affection and vulnerability (dependency). According to his father’s doctrine, sex is a battle, therefore by confessing his love, he surrenders. And now, you understand why his father gave him such a role, absence of love is a synonym for independency and liberty. By attaching himself to the artist, he is in truth trapped himself. Now, the manhwaphiles can grasp, why the noble acted like that. The lord already viewed himself as a servant and object due to his love for the artist, but he was refusing to accept his position. In other words, he was in denial. That’s why he acts like a lord so openly. 
Remember that the artist treated the master as his sexual object, the one who will give him pleasure. The master could only perceive it as a power of force. Yoon Seungho doesn’t know, this is not correct, as he has never experienced it differently. Power relationship was the nature of his rapport with his own father. Just like he said, he has been living according to his father’s principles.
He was definitely moved and happy. The rich main character’s impotence in front of the artist explains why he is using his sexual potency to submit the commoner. This is no coincidence why the lord is particularly rough in chapter 63.
Here, the lord is reminding the artist, how he behaved during that night. He scratched his face and pushed him away.
He even confessed that he loved the scholar Jung In-Hun. 
, because he is exhausted and fears to show pleasure, the lord has the impression that Baek Na-Kyum is rejecting him totally, begging him to let him go forever. That’s the reason why the noble replies later that 
And in chapter 63, it appears twice. 
This is a huge step for the lord, which doesn’t escape Baek Na-Kyum’s notice. The painter is indeed surprised and moved in my opinion,
although he doesn’t have the time to reply to this admission. The fact that the painter is looking at Seungho’s eyes without any fear or disgust indicates for me that Baek Na-Kyum is slowly grasping the noble’s state of mind. For the first time, he is discovering the lord’s insecurities and wounds. In the past, it was different, since the artist was himself blind and deaf due to Jung In-Hun’s abandonment and betrayal. He also avoided his lover’s gaze and didn’t pay attention to his words 
(chapter 49) Besides, during their rough sexual encounter, the painter’s mind is neither polluted by the scholar’s doctrines nor influenced by his negative emotional state. Even the idiom “never once” outlines the lord’s despair and pain. I believe that the artist is able to sense that the noble was in a similar situation than himself. Besides, let’s not forget that the artist heard about the main lead’s past from the doctor. 
By showing himself entirely, with his self-hatred and longing for love, the artist was sensitive enough to comprehend the lord’s state of mind. That’s why I see here another difference to the scene in chapter 25. This time, there is a real conversation, even if there’s a misunderstanding from Yoon Seungho. The lord is communicating his thoughts and emotions, although the conversation doesn’t start right away. In fact, the chronology differs. First, they have rough sex, but the moment the painter whispers Lord Seungho
This is the first time that Baek Na–Kyum calls him like that in his presence. This did catch his notice. Then when he detects the painter’s blush,
. Then in chapter 11, he is seen in three different panels, standing next to an open door. 
And notice that in the second drawing above, he even opens the door in order to bring the meal to the painter’s study, where his master wishes to eat. And this picture announces his future role as doorman, because he is the one, who opens the door in chapter 16.
Then I could add this panel from episode 56 
, episode 
. And this is no coincidence that the butler didn’t want the door to be opened. Since the lord was no longer acting like an obedient child 
, the valet recognized that he needed to keep Baek Na-Kyum by his master’s side so that the latter would become obedient again. This meant that the butler desired to offer the low-born as a plaything to his lord. That’s why the artist was drugged and had to be imprisoned next to Yoon Seungho. Then in chapter 17, Byeonduck created such a panel: 
In this scene, the butler kept the protagonist’s door closed. He acted, as if he had opened the door, while in reality he had never delivered his master the food. 
In this scene, the butler was indeed acting like a prison warden. And this observation led me to the following conclusion: the butler is only connected to door opening in the presence of Baek Na-Kyum. Therefore in episode 44 he waits by Baek Na-Kyum’s side in front of the open door. 
In this scene, the butler hoped that he would run away and abandon his master. He imagined that after the betrayal and abandonment from the scholar, the artist would be so heartbroken, that he would desert the mansion. Remember the noble’s words in that chapter: 
Why should he stay, if the learned sir had betrayed him? 
He is now free just like the artist. The mansion is no longer a prison, but a home. This stood in opposition to the end of the first season, as it symbolized that the painter was trapped too. 
Since Yoon Seungho couldn’t leave the mansion, the painter became a prisoner as well. 
The door was open, but the readers never see him opening the door. He remained in the bedchamber too.
He went to the painter’s study on his own, indicating that he was moving now more freely. Let’s not forget that during the first season, he often was accompanied by Kim (chapter 20 
, chapter 22 the hunt 
, chapter 25 
). He was keeping an eye on his prisoner while faking he was there as his protector.
Here, the artist was not present, but he was the main topic of the discussion. What caught my attention is that the door was wide open, yet the lord was standing far away from the door. The readers didn’t even see him opening the door. Furthermore Kim’s position changed gradually, because he came closer to his lord and even entered the room.
The noble was actually overcoming his trauma. He opened the door which was strongly connected to his rape from his childhood. 
The butler was able to escape a punishment from his lord with his words (pity for the painter and his terrible portrait resembling his father), yet at the end the butler ends up in the backyard. 
Note the absence of the door, a sign of his loss of power. He has to lie low, as the main lead is no longer trusting him. This picture represents the butler’s position. He kept his master captive, but the moment the latter liberated himself, the butler could no longer rule the courtyard. That’s why he lives in the backyard which was already announced in chapter 65. 
(chapter 36)
The domestic is not only related to the open door, but also to light. Light is often associated to knowledge and wisdom, hence the philosophical movement in 18th Century in Europe is called “Enlightenment”. The philosophes and scientists desired to transform their society and government into better ones, bringing technological progress, knowledge, especially liberty and equality to people. They wanted to free the people’s mind from obscurantism imposed by absolute monarchy and Church. On the other hand, you’ll notice that Kim’s light is covered by glass or paper.
(chapter 68), care of the sick 
(chapter 33)
(chapter 47) Both sentences had a common denominator: hypocrisy, because in the first case, the butler was covering up his own participation and in the second case, the vicious servant didn’t feel remorse after that sentence.
(chapter 57) and even walk around without his master’s authorization. 
: a combination of darkness and light. Besides, as a priest, it explicates why he is a reinforcer of traditions and social norms. Just like the Church in Middle-Age, he knows a lot but he keeps it to himself. He only reveals certain elements, when it serves his own interests. From my point of view, his “knowledge” is used for deception. The light is a diversion, he only revealed semi-truths or he was paltering, meaning that he delayed to expose the truth to his master. We had the perfect example in chapter 50. When he explained the content of the conversation in the library, he created the impression that the painter had not chosen his master. He has not run away, as he was wounded. The truth is that he had indeed selected Yoon Seungho as his master. 
Furthermore, he even let the door open while tidying his master’s room. 
Whereas this scene didn’t seem to have a huge signification, it became a different meaning now, when we associated the valet to a warden. Due to Kim’s actions, the lord witnessed the intimate interaction between the scholar and the artist in the courtyard.
By opening the window, the lord was confronted with a certain reality. Despite the sex marathon, he hadn’t won the painter’s heart, as the latter was still affected by Jung In-Hun’s gestures and words. But Kim did it on purpose: the so-called light and knowledge created the illusion that the painter was unfaithful. In fact, Seungho could never witness the low-born’s several disappointments. Due to Kim’s intervention, the lord became so jealous and infuriated, that he grabbed his sword, ready to kill the artist. 
In my mind, the lord was also suicidal here. However, nothing happened back then, as the artist didn’t leave the mansion. Like lord Seungho pointed out, if he had stepped out, he would have killed him. This scene had another signification: the lord was slowly getting closer to the mansion’s door. And since the valet was by his side, he saw his master’s jealousy and insecurities. The latter was again on the verge to become mad and suicidal. The domestic recognized, how desperate and dangerous the aristocrat was during that morning and hoped, the noble would kill Baek Na-Kyum with his own hands. This situation happened again in chapter 61: 
The assistant had in reality manipulated the staff. He had learned that he could no longer feign ignorance like in the past (chapter 29). Hence he used belief for his scheme. That’s why I believe that in chapter 62, the butler chose to influence his master directly 
This time, the domestic could observe the artist was still alive, but more importantly he could move freely in the shed. For me, although it appears like Kim was showing concern for the low-born, the reality was that he was worried about his own safety and survival. Baek Na-Kyum could reveal how he got abducted and the noble might question his butler’s whereabouts and actions. 
Both represented the darkness of the mind. The readers will certainly recall that the scholar is not attempting to teach the commoners and Baek Na-Kyum properly. And this leads me to the final conclusion: Baek Na-Kyum and Yoon Seungho are in reality the light and fire 
(chapter 57) 
(chapter 62), this explicates why the lord could find the door and open it. 
Baek Na-Kyum had to do it himself too. Yoon Seungho had liberated himself thanks to his lover. The painter had to make the same experience. By opening the door and not following his sister, he was making the following statement to the protagonist: he was no prisoner, he had chosen Yoon Seungho as his master. Moreover, he was accepting his homosexuality and
his relationship with the main lead. 
Hence he became the only witness of his master’s wrongdoing. However, like I mentioned it before, the butler is responsible for the forced sex due to his words. First, he gave the impression that he showed concern for him, when he discovered the scar on his face. 
Secondly, once he met him in the hallway, he didn’t dare say anything and even avoided his gaze. 
He looked definitely uncomfortable and even scared by him. Why? It is because for the first time, the butler had to face himself his master’s mood swings. So far, the painter had been the only one facing the noble’s bad temper. In my opinion, when the butler claimed that he feared his master
, he was definitely lying, for he had always been his right-hand. That’s why he never criticized his lord before. He didn’t have the need to do. However, Kim’s position got affected with the rape. Due to his involvement, he triggered the lord’s trauma, hence he was confronted with the lord’s terrible mood. 
Therefore many readers and me included thought that Kim’s words from chapter 12 were true. Yet, the reality is different, as this situation only appears in episode 25 and 26. Hence he decides to act behind his master’s back after his last meeting in the hallway. 
He got surprised by the lord’s action, nevertheless he knew that the lord’s emotional state hadn’t returned to normality. The butler recognized that the main lead was still boiling inside due to his anger and pain, though his expression was cold and detached. Kim sensed that another fight between the master and the low-born would occur, since the latter couldn’t calm down and even reproached him his silence before. 
(chapter 65) For he could act as his advisor, this means that he could have told the truth to his lord. There’s no doubt that through his conversation in the woods, he recognized that there could be a misunderstanding between Yoon Seungho and Baek Na-Kyum. Yet, he chose not to reveal this information, because that way, he would create a situation, where the lord would be rejected. In other words, the scene in the pavilion was a new version of the Wedding night. Besides, the manhwaphiles should recall that the butler played a huge role there as well, because he created an incident: the disappearance of the expensive wine. 
In other words, the criminal is actually trying to bury the truth as well. He is also asking the victim to lie by omission. Unlike the loyal servant, Nameless threatened the painter.
And now, you can understand why my connection to chapter 26 was correct in the end. However, there’s a huge difference between Nameless and valet Kim, both representatives of the future. The butler wasn’t feeling sorry for the victim and the perpetrator at all, while it’s the opposite for the hired assassin: 
(chapter 60) 
(chapter 66). Valet Kim only fakes concern and care, because his motto is: 
Why? It is, because the tears expose the wound and represent the proof of a misdeed. And their common reaction leads me to the following deductions: 
(chapter 3) Thanks to his invisible mind’s eye, the lord was able to reflect on himself and recognize his wrongdoings. Unlike the red-haired aristocrat, the protagonist felt huge pangs of conscience very early on, while it took his friend a long time to recognize his mistake. He was the one responsible for losing his lover.
(chapter 61) 
(chapter 62) And observe that the moment, Jihwa realizes his huge mistake and expresses remorse, he drops his doctrine about the distinction between nobles and commoners. He doesn’t mind being embraced by a low-born, even a criminal. Notice what Yoon Seungho is experiencing happens the next night after Jihwa’s emancipation. Since we had a scene with three persons in the woodshed
, then I had the feeling that in the grange, we could have a scene with 3 people as well (past, present and future). So I predicted that this night would have the same impact for the powerful protagonist, yet that his rebirth would be accompanied with pain and a tragedy. And my predictions were correct: during this night, the third person in the shed is the perpetrator of Yoon Seungho’s rape which was witnessed by the butler.
I mean, why would the domestic answer to his question during the night, while we clearly saw that the teacher was already lying in his bed before? My first explication was that Kim was trying to help his master, because the scholar’s death would have caused a real scandal. Nevertheless, my interpretation has changed. He did it in order to secure his position: if Yoon Seungho had killed a noble, he could have been persecuted and as such the butler’s fate would have been affected. There’s no ambiguity that after the rape, Kim knew how his lord was thinking and feeling. However, if you read the manhwa, you’ll never see him acting behind the scene. You come only to this observation after examining the chapters carefully. The sudden appearance of the old servant who asks the low noble to follow him outside, while the former wonders about this action. Besides, I had clearly pointed out the theory that the assistant must have been responsible for the painter’s first escape. It was his first direct involvement, and his disobedience could have been noticed by his master. We have to envision a new version of this situation: Kim encouraged the painter to flee by telling him where the scholar was. 
He never anticipated that as a low noble, he would mistrust the low-born’s statement. And if you pay attention to the evolution of the story, you’ll notice that Kim’s actions are gradually revealed during the first and second season. During the night of the forced sex, Kim acted behind the scene, yet the chapter 29 marked a turning point in the butler’s life. He got punished for his betrayal, although the protagonist got unaware of this: 
Why this miscalculation? From my perspective, it is related to the butler’s judgement about his master. In his mind, Yoon Seungho is just a man consumed by lust, hence he envisioned that the painter was just a plaything. He believed that once out of the sight, out of the mind. 
As a conclusion, he decided to use the lord’s thirst for the painter to get rid of Baek Na-Kyum. Observe that he never asked for his master’s approval for the aphrodisiac. He already started giving orders on his own: Deok-Jae was asked to let the painter leave the mansion, then he bought the expensive medicine. But since he was just a butler, he used the closeness to his master to obtain what he wanted. This exposes that Kim already abused his position, in season 1. He claimed to the doctor that his master would have given his approval, because he knew that the aristocrat would never investigate his moves and whereabouts. 
However, we all know that Yoon Seungho’s desire is to be loved for himself and not because of his status, wealth or a trick. When the valet went so far to buy ink and brushes for the painter, it gave the impression that the butler was caring and gentle.
(chapter 56) 
(chapter 58) Under this new light, it becomes comprehensible why the lord questioned his presence at the physician’s While many readers, including myself first, thought, was attempting to bring them closer and as such to play cupid in the end. The reality was the opposite. He always created misunderstandings and problems. 
A sword! And remember that I have already pointed out that there’s a strong connection between the butler and the sword due to chapter 1, 26, 35, and 50. That’s why I come to the deduction that Kim desired to get rid of the painter through his master’s sword. Hence he said those words: 
However, each time the painter had to pay a huge price for Yoon Seungho’s misdeeds. In chapter 33, he was more concerned that the painter would reveal his involvement in the escape. This explicates why Kim declared this in chapter 65: 
Kim was the darkness, consequently the noble turned his back on the light, but he could still feel some warmth through the painter’s words 
Bebebisous33s' analyses in K-Dramaland and Manhwas 