Category: Lord Song
Protected: Painter Of The Night: Family (third version)
Painter Of The Night: Silence (fourth version) 🤐
This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
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“The ultimate tragedy is not the oppression and cruelty by the bad people but the silence over that by the good people” from Martin Luther King
With this quote, the famous American Baptist minister denunciated the passive attitude of many Americans, who didn’t feel concerned with racism and segregation in 60’s. Why?
(chapter 65) As you can see, the valet Kim is not revealing the truth, not out of fear, but he has the impression, this is not his problem. He chooses indifference. With this single attitude, the readers discover Kim’s true personality and past, confirming my last analysis about him. When he heard the painter’s refusal,
(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 64) The teenager was left behind by the servant, and his hand couldn’t even stop him. But since it is a reflection, I think that the butler was the one who brought the main lead to the predator, naturally his intention was not to have him raped. And now, I grasp why the lord feels the need to hurt people with his hand, like for example strangling the painter
(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 65) Yet, the storage room is the place where the valet betrayed him, as he changed his lord.
(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.
With Kim’s silence came a huge price: fear and guilt.
(chapter 65) Since he had not assisted the young master repeatedly
(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”.
“Failure to assist a person in danger is a criminal offence that condemns the failure to assist a person in danger. Contrary to most criminal norms, it is an offence of omission and not of commission, i.e. the perpetrator does not act when he should have done so.”
However, from a moral perspective, Kim committed a wrongdoing, and he knew it. That’s why he couldn’t forget and felt guilty. Even nowadays “Duty to rescue law” doesn’t exist everywhere, nonetheless many European countries, like Germany or France or UK possess one and its creation was partially influenced by the experiences made due to Nazism. And now, the manhwalovers can comprehend why my association to dictatorship was correct. Kim and other ordinary people are their willing assistants in the end. They prefer avoiding trouble out of convenience. Consequently, they turn a blind eye to injustice. Yet, though they try to forget
(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 65) Although Kim’s words in the panel are addressed to the physician, they actually reflect that Kim is speaking out of experience. He knows by experience that “silence is a true friend who never betrays”. Observe that Kim’s complicity was never brought to light, hence he never got punished. This explicates why Yoon Seungho is acting differently from his biological father in reality. Each time there was a crime, the lord let the painter defend himself and asked questions: chapter 11 and 62
, (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) My theory is that the valet used the drug as an excuse to silence the physician. Now, the doctor is hoping that the boy says no word about it, so that his “wrongdoing”, the false medication, won’t be discovered. Kim blamed the doctor that after that, his master had behaved like a crazy man. The result was that both physicians chose silence!! Why? It is because the valet had pushed them to make this choice. And note the pattern. Kim used pity and compassion for the first doctor, and fear and brutality for the second! Exactly like in this scene:
(chapter 12) In this scene, we have all three elements: pity, fear and silence (“can’t go into details”).
And despite knowing the truth, Kim makes the same decision like in the past. He chooses to sweep the incident under the carpet. He is glossing over the abduction with all fake excuses.
(chapter 65) He has the audacity to say that his master won’t hurt the painter, although he even witnessed the roughness the artist was exposed to. Yet, for him harm was flogging or execution. From my perspective, this is no coincidence that the author showed us the valet sweeping.
(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.
Notice that he is the one removing the snowman built by the painter, the last reminder of the low-born’s innocence. In two occasions, he chose cowardice and silence. First, he did nothing to stop his master
(chapter 65), as he didn’t desire to feel his master’s wrath. Secondly, he asked the physician to keep silent by making him feel guilty.
(chapter 65) But if he had seen this, he could have intervened and reasoned his master. But he chose not. He was too embarrassed, for he had been caught “spying”.
(chapter 64)
And the next day, he prefers to forget this incident.
(chapter 65) What caught my attention is that he feels nothing for the painter, he doesn’t even express any regret or remorse. Since he knows that the artist won’t be killed, then everything will return to normal. He doesn’t consider the impact of Yoon Seungho’s violence used against the painter, which he witnessed on several occasions. For him what matters the most is silence, the absence of ruckus! And now, I can understand why the lord is not able to distinguish genuine from hypocritical care. When the lord was young, he saw in his valet a surrogate father, but he got betrayed in the worst way. He turned away from the wounded master. He closed his eyes, closed the door and ran away. Therefore, it becomes comprehensible why Yoon Seungho’s unconscious always expresses itself through the hand, the eye and the feet. This was the result of Kim’s abandonment, but not only from him: from his own family and even his best friend. And back then, the butler must have thought exactly the same in order to justify his behavior:
(chapter 65). He legitimated his cowardice and passivity by saying that Yoon Seungho wasn’t part of his life and his adoptive son. He was just a noble, with such a statement, Kim was drawing a line. Due to his mistakes, he chose not to intervene any longer. But observe that in season 1 and 2, he meddled in his lord’s life, as he viewed it as his own business. Why? It is because he feared that he could lose his position. However, I think that in season 1, he was more influenced by his unconscious, but not in season 2.
After all these observations, I come to the conclusion that Kim has many common points with Lee Jihwa. He knows the past and feels remorse and repentance. But both are forced to hide their wrongdoings and as such their culpability. That’s why the chapter 65 reinforced my conviction that Lee Jihwa was indeed responsible for Yoon Seungho’s misery and the red-haired noble was aware of it. Yet, exactly like the butler, he denied his responsibility. Sure, many are to blame for the main lead’s tragedy as well: father Yoon, his brother and lord Song/the king. All of them lied and chose to remain silent.
From my point of view, Byeonduck has another reason for making Baek Na-Kyum going through the same experiences than the protagonist’s. This is not just to make Yoon Seungho realize what he has become and sees his own reflection in the end. In my opinion, the author uses the painter’s suffering to reveal the main lead’s tragic past. Since we all suffer for the artist, the manhwaphiles have to imagine that Yoon Seungho experienced it too, but in the worst possible way, as he had really no one by his side. While Yoon Seungho might be rough and hurtful towards the artist, he is still in love with the artist, hence he still cleans
(chapter 65) the artist after their intercourse and even gives him his own shirt. He shows a certain sense of responsibility.
So my actual theory about Yoon Seungho’s past is the following: Yoon Chang-Hyeon got deceived by many people, making him believe that his son was an idle young master before being stigmatized as sodomite. The king had to ruin the protagonist’s reputation in order to approach him. The real puppet master was lord Song alias the king. But every culprits had to suffer the consequences of their crimes and deceptions. I don’t think that even the king was spared. He also got punished by the gods, yet he never realized it. Yoon Chang-Hyeon thought, he could benefit from such an alliance, but he got betrayed by father Lee, but the scholar never recognized it.
(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:
- coercive persuasion: sexual, physical and emotional abuse
- a wrongdoing and the innocence of the main lead, yet the father believes that his words are all lies
- the abandonment from everyone: Lee Jihwa, the staff, the butler, his brother and his biological father
- The responsibility of Jihwa and Kim in his misery due to their behavior (action versus passivity)
- sexual abuse committed by a repressed homosexual
- “prostitution” and gangrape As the king would share Yoon Seungho to his officials
As a conclusion, silence is as terrible as words. Both can kill in the end.
Silence in the face of evil is itself evil: God will not hold us guiltless. Not to speak is to speak. Not to act is to act.” Dietrich Bonhoeffer
That’s why it is important not to turn away from injustice. This is not just a question of courage. Not helping someone in the need is committing a crime, and it contributes to reinforce injustice. Fear for life can not be an excuse in this story, since the matter of life and death appears afterwards. The silence is related to a misdeed. Besides, this kind of behavior explains why Third Reich could exist. First, while some people were convinced believers, many chose comfort over trouble. Let’s not forget that Hitler could install his dictatorship, because the MP from the Reichstag voted for Enabling Act (1933). That law gave Hitler the power to enact laws without the involvement from the Reichstag. One might argue that Hitler used terror to coerce the MP, but this is not correct, as Otto Wels gave a speech against it and the socialist party (SPD) followed him. This was the only party that voted against it. I have to admit that while reading the last chapter, I couldn’t help myself thinking of the Third Wave.
In our case, it is not about Nazism, but about civil courage. Once one remains passive, the other follows creating a common movement: all become inactive and silent. IT takes courage to admit a mistake and a wrongdoing. And we have to imagine that in the past, the servant Kim remained silent once leading the others to close an eye as well. And the phenomenon is occurring again. The physician was a witness, but did nothing (not even asking for help after the painter’s disappearance). He was convinced that if he shut his mouth, he would help the artist! But this was simply wrong, for with his passivity and false conclusion, the painter could have died. The irony is that Kim is following him after their conversation.
(chapter 65) Slowly, he is recognizing that his master won’t hurt the artist. Yet, during his visit, he thought the exact opposite.
(chapter 65)
However, this time it is different because of Baek Na-Kyum’s panic attack and his sister’s intervention.
(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:
“The ultimate tragedy is not the oppression and cruelty by the bad people but the silence over that by the good people”
The physician and the butler are no evil men per se, as they don’t find pleasure in death and suffering. However, like the following idiom is revealing, people can change due to their decisions:
The way to hell is paved with good intentions.
That’s why in season 4, the tragedy won’t be repeated and the truth about Yoon Seungho’s martyrdom, strongly intertwined with the artist’s, will come to the surface. You are wondering why now. The reason is quite simple: The doctor revealed his knowledge to Baek Na-Kyum,
(chapter 57) It doesn’t matter, if the butler told lies to the physician in the past, as they are now perceived as truth. Remember what Kim confided to the painter:
(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 65), a proof that the truth needed to be unveiled. It was impossible to act, as if nothing had happened, just because the painter had been returned to Yoon Seungho. And it is the same at the end of season 3. The painter gave his husband a task:
(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:
(chapter 65) Because Germans chose silence, the Holocaust could take place.
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Painter Of The Night: What if…
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.
In this composition, I will present a theory about the causes for Jihwa’s trauma and childish behavior, until he met the criminal Nameless which led him to face reality and change for the better. I would like to remind my readers that there’s no guarantee about this assumption, yet this idea was developed based on my discoveries and interpretations about the characters.
Before disclosing my theory, it is important to explicate how I came up to it. First, since we have a repetition of the episodes from season 1, it signifies that the author is determined to apply the saying: history keeps repeating itself. In other words, the actions Jihwa did in season 1, are happening again, even if there are some alterations. And this signifies that Jihwa must have done it in the past as well, as the story is going in circle. Let me give you an example: Jihwa hired a servant among Yoon Seungho’s staff in order to spy on him.
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.
Secondly, I had observed that the red-haired noble was like the negative version of the painter, or better said, the other side of the mirror. https://bebebisous33analyses.wordpress.com/2020/10/22/painter-of-the-night-lee-jihwa-another-puzzle/
Although he embodies many negative features (selfishness, arrogance, violence etc.), he is associated to innocence as well, but in a different sense: naivety and as such ignorance. Yet, unlike the painter, he has the impression that he is a man full of knowledge and experiences. Let’s not forget that he often uses the idiom “I know”.
(chapter 57) Observe that he employs his knowledge to convince the childhood friend to accept his feelings, as though knowledge is a synonym for love. Then in chapter 36,
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?
It is related to the main lead’s isolation. One day, Jihwa and his childhood friend got separated all of the sudden.
And since in the same chapter, we have Jihwa’s confession and the doctor’s statement that Jihwa had the same disease
, 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.
, but he tried to diminish his coercive persuasion by describing it as a simple punishment. From my point of view, the father must have either discovered a letter from Jihwa addressed to Yoon Seungho, where the latter expressed his admiration or witnessed a scene, where he caught Jihwa’s gaze towards his eldest son, like a new version of this scene for example.
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.
However, since the main lead trusted his family, he never suspected that he became a victim of his surroundings. This explicates why the protagonist could never understand the origin for his misery and questioned himself. Let’s not forget his obsession with the question mark “why”. He was never aware of Jihwa’s feelings and his family used it as an argument to torment him in the end.
And if we take into consideration that Jihwa is similar to the artist, this means that his love for his childhood friend was very similar to Baek Na-Kyum’s feelings for the scholar. But since he is his negative version, this signifies that Jihwa couldn’t accept to be separated from Yoon Seungho, while the painter accepted to be sent away and to love the low noble from far away. In other words, whereas the commoner loved the teacher selflessly, the second character did the opposite. Hence Jihwa tried to get in touch with his friend, and decided to know what was happening in the mansion. Therefore the red-haired noble hired spies, but this was discovered and the servant or servants got punished. The result was that the main lead’s situation worsened, but the latter had no idea why and what was happening around him due to his isolation. Back then, Jihwa was quite young and must have felt guilty. Out of love and in his attempt to help his friend, Jihwa chose to keep intervening, but it always backfired causing the red-haired aristocrat to feel so guilty.
Let’s not forget that during season 1, due to Jihwa’s mischief, Yoon Seungho chose to cut ties with him. This is important, as it demonstrates the red-haired lord’s responsibility in their separation. And since the events keep repeating themselves, I believe to see this as a clue for my theory. Secondly, Jihwa still had info about Yoon Seungho through his servant, after cutting ties with him.
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.
Since Jihwa was so young and didn’t realize that he had been played, the burden of his responsibility became so heavy that his unconscious repressed his “responsibility”, while deciding to adopt a new philosophy: he is entitled to do everything for himself, and since people and especially commoners suffered due to him, he justified their deaths with: they’re just low-borns. Due to his guilty conscience, he became blind and deaf and at the same time, he imagined that if the main lead came to love him, then it would erase the past and his wrong decisions. It would be, as though nothing had happened. Notice that in chapter 60, the aristocrat has the feeling that no crime occurred, since the painter was returned to Yoon Seungho’s side. But since he was a teenager and had no adult to confide and trust, he couldn’t grasp that it was not his entire fault. Furthermore, I am quite certain that Jihwa is not aware that his love for Yoon Seungho was the trigger and marked the start of Yoon Seungho’s misery. In his mind, he explained with the terrible personality of father Yoon as the source of his misery.
So since he had internalized to act in the shadow and could never witness the consequences of his wrong decisions (the hired spies got killed or severely punished, asking for help and trusting the wrong person f. ex.), but he had huge pangs of conscience, he continued acting like a spoiled child later. At the same time, he hated himself so much due to his guilt that he envisaged unconsciously that if the childhood friend came to love him, then he would be forgiven. However, for him, he was responsible for the wrongdoings, but never got punished. And this explains why he used his love to commit other wrongdoings, because he was never caught and punished.
Once the father abandoned Yoon Seungho, the red-haired lord seized the opportunity to rekindle with the protagonist. He believed that now, he could get what he wanted right from the start. He had loved him all along and finally the lord was free. However, since the main lead had been forced to prostitution, Jihwa found another obstacle. Therefore he imagined that if he could create pleasure in his friend, the latter would come to love him. Yet, in his unconscious, he desired to obtain his forgiveness. That’s the reason why when he confessed to his friend, he talked about knowledge and forgiveness.
He was reliving the past, but the roles were switched, hence he blamed his counterpart. That way, he was avoiding to face reality and his guilty conscious. That’s why I come to the conclusion that Jihwa is quite similar to the protagonist in reality: he is full of self-hatred. Just like the main lead, he wanted to feel loved. But contrary to Seungho, his self-hatred is the result of his guilty conscience and not to abuse.
That’s why he was so obsessed with the past and his childhood friend. With this new approach, this would show to the main lead that he had never been abandoned and was loved, but Jihwa’s love was the cause for his misery. That explains why Jihwa could never reveal it, because it would signify his admission of his guilt. Why do I connect Jihwa with a possible participation in the purge? First, he is so often using the idiom “I know”. Secondly, I couldn’t help myself thinking of the nightmare Jihwa had about bloody hands. Back then, I just considered it as a premonition, but let’s not forget that the painter’s wet dreams were always connected to repressed desires or memories.
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:
- The confession of his crime (chapter 18)
- His love declaration (chapter 57)
This is no coincidence that we have this combination. His love is linked to crime. Furthermore, his actions during the first season were caused by his love Yoon Seungho. Now, you understand why I came to this deduction that Jihwa’s love is strongly connected to a crime and the second character feels very guilty. Let’s not forget that in his confession, he puts the responsibility on the main lead and even adds that he is forgiving him. And if you pay attention to his words in chapter 60, Jihwa says:
Back then, we assumed that he was talking about his behavior during the first season, but if we take into consideration that he already acted like that in the past, then his words have another signification. Besides, we have the word “All”. This idiom could be a clue that he is thinking about the past. Notice that he is admitting his guilt. But if my theory is correct, then he has still a long way to go, as he is not recognizing his wrongdoing committed towards the painter. He is neither apologizing nor asking for forgiveness. Everything was done out of love, an irony, when you think that Yoon Seungho feels the exact opposite. Therefore I believe that the more the situation will escalate, the more the red-haired noble will be confronted with his past and his remorse.
The final argument for this idea is the role played by Nameless. In my opinion, the criminal is ruthless, because he was involved in a crime and saw himself as a victim due to his social status. Through his terrible experiences, he learned that by working for the nobles, he is safer. Yet he despises aristocracy, as he considers this class as corrupt and as the cause for his misery. For him, they are to blame for the crimes, and the servants helping them are no better. Hence he lived a nomadic life, so that he wouldn’t be attached to anyone. However, their relationship will deteriorate the moment Jihwa realizes that the abduction had terrible consequences and he will blame Nameless for this. At the same time, Nameless will refuse to become his scapegoat, as Jihwa had still requested to have the painter abducted. From my point of view, their relationship will force them to see the truth: both are responsible, as Nameless became Jihwa’s hands and took his remorse as a sign for purity. From my point of view, Jihwa was too young back then to become the guilty one. From my point of view, he was just a pawn for the purge, just like Min used him. The real culprits are father Yoon who plotted and the one who revealed the plot in order to get some benefit. Besides, I doubt that Jihwa truly knows about Yoon Seungho’s sexual abuse, as only Kim is aware of that secret (the closed door).
The red-haired aristocrat might know about the prostitution and the sacrifice, yet he is not aware that his love for his friend was the start of Yoon Seungho’s misery.
As a conclusion: What if Jihwa’s love for Yoon Seungho became the cause for their misery? What if the red-haired noble didn’t bear the thought of losing his loved one and made wrong choices contributing to the main lead’s traumatic past? At the end, he felt so terribly guilty that he became blind and deaf and even hated himself so much. What if he imagined that by getting the main lead’s love, he would get his forgiveness? If this theory is true, then it explains why Jihwa became so ruthless towards commoners in the end. He couldn’t bear the thought that he had caused the death of so many people. Let’s not forget that during a purge, the servants from the noble families get punished as well.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Painter Of The Night: Valet Kim: a dog 🐶 , a matchmaker or a father? (third version)
This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
As painful as the chapter 64 was, it revealed a lot about Kim’s personality and his relationship with Yoon Seungho. Therefore I decided to focus on the butler. On the other hand, this is not the first analysis I wrote about him. So far, I had described him as the helping hand and the best man. Then in other essays, I had compared him to a dog, to a matchmaker or even to a surrogate father. But who is he really, and more precisely, what is the true nature of his relationship with the lord?
In order to answer this question, it is important to gather all the info we have about him. Valet Kim is the servant who served the main lead since the latter was a young teenager. This means, he saw the sensitive and intelligent boy growing up into adulthood.
(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 57) That’s why I come to the conclusion that the butler Kim was in fact loyal to the elder master and not to Yoon Seungho. He might have had an affection for the teenager, yet in truth he serves the head of the family. And notice that valet Kim is still giving the expensive medicine to the protagonist, although this was ordered by father Yoon.
(chapter 57) But more importantly, the manhwaphiles should question themselves about the nature of this medicine. It is a drug to mess up with the main lead’s health? And this clue reveals that Kim is not working for Yoon Seungho. One might argue that Kim is just following father Yoon’s orders, but the latter lives so far away, hence the eldest master has no control to threaten the butler. Hence Kim could have stopped feeding the medicine, especially after knowing how father Yoon treated the son. In other words, it looks like his loyalty to father Yoon is still intact. This is palpable in two occasions.
(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) He seems concerned for Yoon Seungho again. He knows that the head of the family hates homosexuality. He witnessed how the father separated Jihwa from Yoon Seungho with the excuse of an illness. He was present, when the teenager was imprisoned in the mansion.
(chapter 57) One might question his loyalty to father Yoon, since the butler chose to remain by Yoon Seungho’s side after the topknot incident. However, I could respond that the valet saw it as his duty to keep an eye on the elder son on behalf of the head of the family. From my point of view, valet Kim decided to follow Yoon Seungho for other reasons than true loyalty to the protagonist. In the past, I used to think that he felt guilty for the main lead’s suffering. But I had to review my judgement. If he truly felt remorse, then he should have treated the eldest son differently in the mansion. Yet, he let him become a head-kisaeng. Moreover, the guilty conscience only resurfaces the moment he is confronted with a situation reminding him of his wrongdoing.
(chapter 65) This shows that he has been successfully repressing it. In truth, he did it out of selfishness, while faking affection and loyalty to the Yoons. The readers shouldn’t forget that the head of the family decided to leave the main domain and live in the countryside. Therefore he abandoned the mansion to his eldest son. By remaining by Yoon Seungho’s side, butler Kim was ensured to have a quiet life. The man was a wreck, hence he couldn’t manage the mansion.
(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 64)
(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 65) That’s why in chapter 45, he let the false rumors circulate in town, because his relationship to a commoner is not revealed. This would cause a real scandal. On the surface, it looks like Kim cared for his lord and as such for the Yoons.
(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 12) Simultaneously, he uses his knowledge to his own advantage, similar to Jihwa, although the latter was manipulated by Kim’s lies. And if you take into consideration the role played by the dog in different mythologies, you’ll note that they all have something in common: they are guardians of the realm of death, like for example Anubis (Egyptian) or Cerberus (Greek). And since I interpreted the mansion as Yoon Seungho’s prison and compared the master to a zombie, until he met the painter, the manhwalovers can now understand the butler’s real function. He is actually the guardian of the realm of death for the lord. To sum up, he is contributing to the lord’s misery and loneliness, as he keeps him bound to the domain and family. Moreover, the gentle valet is aware of his true role, as he has internalized the social norms. As a domestic, he is supposed to serve his master with respect and obedience, which he does on the surface. However, the reality is different, as he lies to him on multiple occasions. Hence he needs to act in the shadow. Why? The real goal of the butler is to live a peaceful life without any big responsibility. As a guardian of the kingdom of death, Kim is the one who allows people to remain by Yoon Seungho’s side or not, but since the painter is affecting the noble’s life, Kim can only perceive the painter as his enemy and source of danger. Yoon Seungho might decide one day that he would like to leave the property and join the capital.
And now, you are wondering why I believe that the butler feels guilty, but don’t forget that his bad conscience is not the real reason for staying by Yoon Seungho’s side. In my opinion, he is the one who abandoned the main lead, as he didn’t protect him from father Yoon and from the rape. Like I mentioned it above, the teenager trusted his butler and showed him his affection, therefore he must have considered him as his surrogate father. Yet the moment the former needed his help, the latter chose to do nothing and remained loyal to father Yoon. The young man must have felt abandoned and betrayed. How do I come to this conclusion? First, his attitude in chapter 64 shows him in a negative light. Out of fear and shock, he runs away and leaves the painter to a terrible fate.
(chapter 64) This is not the first time that the butler had a similar reaction. In chapter 26, he tries to calm down the painter asking him to stop crying, and when the latter criticizes him, the domestic decides to leave the bathroom with the excuse that he needs to fetch him new clothes.
(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 16) The butler chose to open it in secret, because he desired to remain anonymous, so that his loyalty wouldn’t be questioned. As soon as it was opened, he ran away without looking back, fearing to see what was happening. That’s the butler’s trauma in the end. Back then, he chose to remain passive and close the door leaving his young master behind. But Yoon Seungho caught his terrified expression, which he can never forget, that’s why he pointed it out to the painter.
(chapter 64)
(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 23) This idiom exposes his attitude, he will act, as if he knew nothing. And since I revealed that father Yoon trusted Kim and the latter was loyal to him, I am now quite persuaded that father Yoon is responsible for the sexual abuse of his son first. Striking is that my theory was confirmed in chapter 65 and 74. However, the valet acted, as if nothing happened, while the teenager was blamed for letting the servant see the rape.
(chapter 65) It is even worse than I had anticipated, because he was even asked for assistance, but the valet turned a blind eye. The advice (“ignorance is a blessing”) expressed by the butler exposes his complicity. The valet became the willing helper of a rapist. In his eyes, he couldn’t stop it, as he was just a domestic.
(chapter 65) Since Kim never revealed the secret of the “so-called conversion therapy” leading to the sexual abuse, father Yoon trusted his loyal servant. That’s the reason why he accepted to leave Kim behind. He knew that he would do anything to maintain the reputation of the Yoons. Furthermore, this trauma explains why the master keeps having sex outside the storage room. He is well aware that the servant will never remain there, hence he asks him in a cynical way if he wants to become a peeper.
(chapter 64) Now, I can understand why Yoon Seungho has such abandonment issues. For him, valet Kim was his father, as the latter was nice and caring for him. Yet during the rape, he did nothing, as he was just a servant. And now, you understand why he feels that he has been backstabbed by his two fathers, why the main lead is using his position to keep a boundary between himself and Kim and why he is using his right as lord to keep the painter by his side. He has internalized that being a lord can protect him from pain and vulnerability. In his delirious fit, he believes that he can get what he wants. Back then, he was just a young master and not the lord of the mansion, and Kim was just a domestic. After coming to this perception, I see the chapter 64 in a different way. The chapter 64 exposes the valet’s cowardice, culpability and selfishness, hence I judge the lord’s behavior in a different light. The monster is the result of the betrayal and abandonment from two fathers, and both decided to avoid reality and see the consequences of their choices. Notice that father Yoon ran away just like the valet. But the chapter 64 could mark a turning point in Kim’s life in my opinion, as he sees the consequences of his silence. That’s why the valet decides to accept the new situation:
(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
(chapter 64), and the former contributed to this due to his passivity. Now, he is facing reality, seeing the consequences of his inaction. However, the butler’s resignation doesn’t is short-lived. It even looks like the butler didn’t learn his lesson, he chose to turn an blind eye to that terrible night finding fake excuses,
(chapter 65) even blaming the physician for remaining silent. And since Byeonduck has this approach that only pain can lead to changes, we have to imagine that Kim will have to suffer this time.
The chapter 16 exposes that Kim was well aware of his master’s action and decided to intervene. One might question the valet’s motives. If he intervened, why did he help the painter in the end? This would contradict my earlier interpretation: the butler is a dog and as such, he is obedient to his master. However, let’s not forget that he is a guardian of the Yoons and their reputation. By separating the commoner from his master, he ensures that Yoon Seungho’s reputation doesn’t deteriorate much more.
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.
Now, you can comprehend why the butler let Deok-Jae sell the expensive dresser
. (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 65) He knew that the noble wouldn’t pay attention to it, since it was broken. His passivity and silence explain why the servants could talk behind their master’s back and spread gossips, sell his things and even not follow his orders.
(chapter 32) Kim has no real control over the staff, although he is the right-hand of the master. His indifference and his fear for responsibility explains his lack of authority. That’s why in chapter 63, he doesn’t even attempt to correct the maids talking badly about Baek Na-Kyum, although he already knows that there’s more to it. His silence should be considered as a sign of admission, reinforcing the servants to think badly of the painter. The painter is a liar and betrayer. I have to admit that Kim’s passivity really annoyed me in that scene.
(chapter 63) He is indeed a hypocrite, a selfish person,
(chapter 64) although he doesn’t look like one. No wonder why the lord felt so betrayed and abandoned, and hates hypocrisy the most. He stands in opposition to Jihwa in the end. While the one did nothing, the other acted too much out of selfishness.
Furthermore, with this perception, the manhwaphiles comprehend why the domestic never tried to convince the painter directly that he was not a prostitute. Since the latter was no longer refusing his lord, then in his eyes he had achieved his goal. There’s no huge difference between a favored servant and a prostitute. Both are not allowed to refuse the sexual advances from the partner. They have no rights, their pleasure doesn’t matter. That’s why he saw no need to reveal the conversation between Jung In-Hun and Baek Na-Kyum. He only disclosed it, the moment he saw his master was able to get closer to the painter and the latter had overcome his heartbreak. Besides, this explains why he criticized the painter in chapter 52. He was not fulfilling his role as favored servant.
(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.
But after the abandonment, Yoon Seungho had learnt a terrible lesson. Kim was just a domestic. This explains why there’s no intimacy and closeness in the present situation. Their actual conversations are very limited, the master gives orders or asks questions, but he never expresses his feelings or thoughts in front of the butler. He even hides his sadness and pain in front of him.
(chapter 56) He trusts him to a certain extent, because the valet took care of him, while he was delirious. The domestic even stopped him from committing suicide.
(chapter 57) Yet their relationship was never the same like in the past. For the lord, Kim decided to remain by his side out of loyalty and duty, nothing more. That’s why he is so adamant to remind the domestic of his actual position.
(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.
That’s why I come to the conclusion that valet Kim didn’t consider Baek Na-Kyum as his new adoptive son and when he “defended” him, it was always because of social norms, because of the master’s rights and position . Notice that after Deok-Jae had played the “prank”, Kim criticized him and mentioned Yoon Seungho. His gesture could have affected the master.
(chapter 47) This explicates why the vicious servant never got punished in the end. Baek Na-Kyum was not considered as Yoon Seungho’s official partner, he was just a favored servant. This explains why he has no protection either and he could get kidnapped so easily. There was a motive behind his nice gestures. He desired Baek Na-Kyum to feel comfortable, so that he wouldn’t become greedy and not ask for more rights. He noticed his talent, when he saw his painting in chapter 44, hence he realized that painting meant a lot to him. Therefore he bought materials for 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,
(chapter 64) chapter 65 even destroyed this expectation. He remains the same, because his philosophy is:
(chapter 65) Sure, he feels guilty again, as he tries to justify his silence and passivity with fake excuses.
(chapter 65) Yet, his guilt is towards Baek Na-Kyum, that’s why he is reminded of the past and his own cowardice. However, since he has always run away from responsibility, his remorse was never strong to make him reflect on his own behavior. Back then, he didn’t help his young master and remained silent and now the story is repeating itself. By connecting both events, it becomes obvious that Kim hasn’t changed at all. There’s a reason for that. He never suffered himself, like both main leads did. And like I wrote, for the author, pain is the driving force that pushes people to change.
As you could observe, valet Kim has internalized the values of his time and his social status. He liked Yoon Seungho, but not to the extent of considering him as his adoptive son. For him, he was just a commoner and a servant of the Yoons. Therefore he saw it as an act of disobedience, if he had protected Yoon Seungho back then and defied the master of the mansion. One might argue that he couldn’t have stopped it due to his vulnerable status. Yet people shouldn’t forget that Kim chose to remain, not only passive but also silent. Moreover, father Yoon trusted him so this means that the valet was his eyes and ears. He could have act behind his back. The result was that he became an accomplice of the perpetrator. By covering up the scandal, he contributed to Yoon Seungho’s misery. He chose reputation over a young boy, who truly loved him. That’s why the noble feels so insecure, even a commoner was not willing to show his love for him. The latter preferred covering up the crime, as reputation and norms seemed to be more important than a person’s life. He wanted to stay out trouble. And now, it is too late, as there’s a scandal which Kim couldn’t prevent. As you can see, no one in this manhwa is free from mistakes and huge flaws. Many admire the valet Kim for his loyalty and his secrecy (acting behind the lord’s back), yet under this new perspective these actions leave a bitter taste, because they all contributed to the misery of the two protagonists. In fact, I realize that this was done on purpose. Kim deliberately chose to ruin their relationship. But even if you can’t perceive Kim’s evilness, let’s not forget this saying, the road to hell is paved with good intentions, which would also fit the butler’s character. He means it well, yet his choices are terrible, as he prioritized the wrong values. Furthermore, willing helpers play a huge role in a dictatorship. Their excuses can be fear and cowardice, but also their adherence to the wrong values. Moreover, this truly exposes that internalizing social norms blindly can not be right, because people need to question them in order to bring positive.
That’s how I judge this character now. For me, Kim is not a father, but a black dog, the guardian of the realm of death. Hence the lord couldn’t come back to life. With this new interpretation, his death seems more imminent. By dying, the butler contribute to the lord’s emancipation. The latter can finally leave the mansion, his prison. It was the place where he lived a hell.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My instagram-tumblr-twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.
Protected: Painter Of The Night: The night of revelations – part 2 (second version)
Painter Of The Night: “Fire and darkness: Baek Na-Kyum” (second version)
This is where you can read the manhwa. https://www.lezhin.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
In this essay, I will focus on the painter’s situation and emotions during the sex session in the barn. After reading it for the first time, all the readers had a very negative perception of this sex session due to the verbal violence and the roughness.
In the first part, I compared Yoon Seungho to a demon coming from hell
, asking for pain and blood from the person who hurt him the most recently: Baek Na-Kyum. The vengeful ghost has the impression, he is living in hell, since he has been lied, betrayed and abandoned by the painter. Because of his immense suffering, the lord’s heart is set on taking the artist to hell as well. The main lead’s goal is not just to torment the low-born like hell, but also to keep him by his side in the end. Behind his madness, Byeonduck lets transpire the noble’s dependency on the painter. He doesn’t want to be alone. This becomes very obvious in the following panels. First, Seungho attempts to diminish his love confession:
By using an antiphrasis “in the heat of the moment”, the noble is actually saying the opposite, which he doesn’t realize. He was serious and meant it for real. Besides, the depth of his affection for the commoner is truly unveiled, when he expresses his despair and powerlessness in the following panel.
The first statement outlines not only the limitation of the master’s strength and control (“I would never have been able”), but also the irremediable outcome (“Never”). It exposes Yoon Seungho’s exasperation and dependency on the artist as well. This explains why Yoon Seungho was infuriated and wounded and was deaf to any reasonable argument. And the last panel reminds me of the scene in chapter 30, where the noble beat his staff, as his order had not been truly followed. In fact, he was expressing his powerlessness and despair. However, this time he can’t criticize his servants for the escape, since he was the one next to Baek Na-Kyum. This explicates why the lord is only targeting the artist with his violence
, while he criticizes his own thoughts. He could only blame himself and the artist for his agony, anguish and frailty. He had the feeling that everything he did was for nothing. Moreover, he has no control over the artist, reminding him of his own powerlessness in his childhood. That’s why he resents the artist so much in the end. Through his actions, he is sent back to his past, where he was a victim due to his powerlessness. Now, you understand why Yoon Seungho is always reliving his trauma, because love exposed him to abuse and betrayal. It also made him incapable to control the events. However, Seungho has no idea that love knows no bound and escapes any control. Just like in faith (a leap of faith), love is a bet where the person trusts unconditionally and there’s no guarantee that love will remain the same and the person will never be betrayed. That’s why I perceive Baek Na-Kyum as the lord’s teacher in love matters. Seungho is discovering the true nature of love, which is always accompanied with pain and uncertainty. Yet, the real basis of love is trust. Nevertheless this chapter displayed the noble’s lack of trust in Baek Na-Kyum. Due to his own insecurities and self-hatred, he will always doubt the artist’s affection. So in order to change this situation, the noble must be confronted with a dilemma, where he will be forced to make a real choice. Does he really love the painter without expecting anything in return? If so, then he needs to trust him unconditionally.
But let’s return our attention to the initial thought: Yoon Seungho is determined to punish the painter for his lies, betrayal and abandonment. The reason for this terrible behavior is simple. The noble is himself so tormented, because he was reminded of his own past again, where he was hugged and lied, before being backstabbed and left behind. As you can detect, the lord is mirroring the sins he was exposed to. Therefore Yoon Seungho faked a warm hug
and misled Baek Na-Kyum with the false apology.
The lord remembered the artist’s warm embrace during their second love session and came to the false conclusion that Baek Na-Kyum was acting and everything was an illusion. It was even worse than a dream, because everything was fake. That’s the reason why Yoon Seungho is so wounded and blind to the truth. What he saw
, heard, felt and touched
wasn’t real and genuine, but counterfeit and artificial. The manhwaphiles can comprehend better the master’s fury and heartache. He was manipulated by hypocritical gestures. And now you understand why the lord comes to the following deduction: why fake love and warmth? There’s no need for that. Consequently, he just needs the painter for sex and nothing more. This time, the roles are switched. The master will use the commoner as his sexual toy.
Like I had mentioned it in the first part, the noble was so wounded by the painter’s words during that night and now he is determined to hurt his lover, just like he did. With these observations, I deduce that the main lead is actually reflecting every word and gesture from the painter in order to afflict pain. And since the noble is denying the necessity of affection and respect between him and his lover, the manhwaworms have the feeling that a second rape is about to occur reminding us of the scene at the pavilion.
However, I believe that this sex session shouldn’t be perceived as rape, especially if you compare it to the scene at the pavilion.
The lord had the same gestures and facial expression: anger mixed with pain and sadness. And this comparison between these two chapters makes us comprehend the real value of this rough sex session. First, this time the painter remembers their love session at the physician’s. Moreover, he is well aware that Yoon Seungho confessed twice.
Here the lord said that he adored Baek Na-Kyum, but the latter never replied to this confession. Then the noble added this:
Therefore, the artist can perceive the lord’s despair and pain in the end. Baek Na-Kyum’s silence and passivity were the reasons for the lord’s insecurities. The artist never expressed anything expect that it felt good. Note that in the barn the commoner is not rejecting Yoon Seungho contrary to the past:
There’s no slap coming from the artist:
He doesn’t struggle or crawl away from his lover:
Moreover, he has an erection
and he ejaculates after calling his lover:
This stands in opposition to this rape scene in chapter 25. Remember that at the pavilion, the lord raped the artist hoping that if he submitted the low-born, then he would obtain what he was seeking: love. Back then, he was confusing sex with love. However, it turned out as a failure, since the artist whispered his learned sir at the end and had no erection.
Sex could never change the artist’s feelings. This explicates why we can’t judge the rough sex session in the barn as a rape. The moment the artist whispers lord Seungho and has a climax, the noble turns him around, a sign that from sex they are moving to love.
So when the artist faces his lover again, he apologizes a second time, yet this time it is different. The main lead has realized that he did wound Yoon Seungho with his silence during that night and in the barn.
He never gave any real explication for his disappearance. That’s why in chapter 63 the nature of their interaction changes: there are more feelings, when they face each other. On the other hand, it never becomes a real love session, as the noble rejects Baek Na-Kyum’s confession. He can’t trust his words, that’s why he interrupts the artist.
But since he only knows sex in order to keep the painter by his side, he can’t stop the intercourse. He has to fight his “opponent”. And now, the chapter 48/49 gets a new signification. Back then, the lord had witnessed how the painter reacted during their sexual intercourse. He got so many ejaculations pleasing the noble so much that he couldn’t help smiling and commenting on it. After the artist’s confession, Yoon Seungho made love to the painter for a long time, because he knew that he was pleasuring Baek Na-Kyum. As you can sense, the noble’s sexuality became dependent on the painter’s pleasure. Hence the lord imagines if they have sex for a long time, Baek Na-Kyum won’t leave him. That’s why he repeats his thoughts from episode 49:
With his last words, I perceive the last vestiges from his father’s doctrines: sex as a tool and battle, where there exists no love and attachment. His mouth, influenced by his conscious, is unaware of the real change and is deceiving his own owner. In fact, Yoon Seungho has already been defeated by the powerless painter and his real defeat was exposed during their second love session:
Here, his heart was admitting his surrendering, hence I come to the conclusion that this sex session shouldn’t be judged as a rape. The painter is recognizing that with his silence and indecisiveness (he wondered about his feelings in the barn), he hurt the lord. However, the artist still hoped to get a kiss from his lover at the end which he didn’t get.
This contrasts so much to the scene in the pavilion: the forced sex started with a kiss.
Yoon Seungho hoped to find love and he only got sex without pleasure. In the barn, it is totally different. He asked for sex, sensed love at some point, but the painter couldn’t really confess, as he had no idea about his feelings. He had just realized that he didn’t dislike Yoon Seungho. That’s why it ended with sex again.
And this is truly a sign that in this dark room, Baek Na-Kyum started sensing his own feelings for Yoon Seungho which is symbolized by the fire. Confronted with pure sex, Baek Na-Kyum got aware that he didn’t like the idea of pure sex and being treated like a sex toy. The lord coldly applied his words from that night in chapter 49, yet this time Baek Na-Kyum was there to pleasure the noble. The latter felt that sex was the only thing he could do in order to attach the painter to himself.
However, the painter got exhausted and wanted to take a break which led to another misunderstanding.
The lord mistook the rejection from Baek Na-Kyum as a new abandonment. Hence Yoon Seungho imagined that he needed to make a wreck of the painter in order to make him surrender.
But the problem is that while hurting the painter, Yoon Seungho was not realizing that he was himself betraying the artist. For the second time, the artist was hugged, while the warmth was fake,
just like the false excuse.
For the second time, he was betrayed and lied to, while embraced. He had been deeply hurt by Jung In-hun’s betrayal in chapter 29.
He could never forget the scholar’s hypocrisy in his gesture (chapter 49), and in chapter 62, the master is even crueler, because he is misleading the artist, making him believe that his apology is accepted. Yoon Seungho is indeed a master of deception. Poor Baek Na-Kyum!! He had already a hard time to accept that the lord was in love with him, and now the noble is in denial and even becomes violent.
However, contrary to the hug in episode 29, Baek Na-Kyum is not entirely blameless. His lack of response during that night and his silence in the barn (he never gave any explication, Yoon Seungho was willing to hear anything) made him recognize that the lord was also in pain behind his anger. While the scholar abandoned him after his betrayal, Yoon Seungho is claiming the opposite, he will make sure that Baek Na-Kyum never leaves his side.
Despite the pain and rage, the noble can’t give up on the painter.
The fire in the storage room symbolizes the feelings from the protagonists in the end. Although both are wounded, the painter is slowly recognizing his affection for his lover, while the lord reveals his real source of happiness and his biggest wish:
Now, you can understand why I chose the title “Fire and Darkness”. The noble’s darkness and fire will affect the artist so much that once the former recognizes his mistake, he will feel terrible due to his huge pangs of conscience. And this is not surprising that at the end, the main lead let the artist choose his own fate. Yoon Seungho made the necessary leap of faith and decided to trust Baek Na-Kyum and show his affection for him. After the second sex marathon and the revelation of the kidnapping, Yoon Seungho is forced to recognize that his own negative feelings pained his companion terribly, almost causing a terrible tragedy: the loss of his loved one. This incident definitely opened his eyes: first he needed to demonstrate his trust in the painter in order to be trusted.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My instagram-tumblr-twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.
Protected: Painter Of The Night: “Fire and Darkness: Yoon Seungho” (second version)
Painter Of The Night: “Crime and Punishment – part 3”
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.
In the first part, I mentioned that Yoon Seungho was a combination of Svidrigailov and Raskolnikov. In this essay, I’ll underline the parallels between the main leads from Painter Of The Night and Crime and Punishment in order to define Yoon Seungho’s future path. The affinities are not random, as both works are actually portraying a society shaken in the grip of decadency, injustice and misery.
Before starting the comparison, I need to introduce briefly Rodion Raskolnikov. He is a poor 23 years old student, who has a loving mother and sister by his side. Yet he had to drop his studies due to his financial struggles. The young man is unfortunately influenced by Nihilism, a mode of social criticism in Russia in the 19th century. This political doctrine didn’t acknowledge any constraint from society on the individual, refusing any religious, metaphysical, moral or political absolute. In other words, for Raskolnikov, he is neither bound by family, nor restrained by laws, social norms and faith. Hence he perceives himself as superhuman. This mentality leads him to plan the murder of a pawnbroker. With this crime, he wants to prove the veracity of his belief. He stands above society. However, what he never expected is the torments following the crime. His guilty conscience represents the center of Dostoevsky’s novel, showing there exists another form of punishment, the stress, doubts and anxiety of trying to avoid punishment and later his remorse.
Due to his crime, he alienates himself more and more from others to the point that he finds his actual situation unbearable. This makes him realize the emptiness of his belief and his actual true condition: he is a human after all and no superhuman. The torments of his guilty conscience pushes him to confess his crime to Sonya, a prostitute. He imagines that their situation is similar, because as a whore, she lives on the margins of society too. She would stand below society, while he would stand above it. However, he recognizes his mistake, since she is sacrificing herself for her family. So her so-called sin, a symbol for selflessness, stands in opposition to Raskolnikov’s, the climax of selfishness. But thanks to Sonya’s love and support, he decides to confess to the authorities and with time he comes to accept himself as a man. In fact, only Sonya’s love was able to move the protagonist to drop his contempt for humanity. We could say that the superman transforms into a human, recognizing his true condition: full of flaws and in no way extraordinary, compared to others. Simultaneously, he becomes more humble and caring.
His condition as superhuman explains why first Rodion pushes away anyone trying to help him to the point, he ends up completely alienated from society. The start of his growing isolation is the result of his pride and intellectualism. The young man considers himself superior to others, so that he can not relate to anyone. Because of this mentality, he views people as tools and uses them for his own interests. He is cold and detached, since he differentiates people into “ordinary” and “extraordinary” which legitimates him to judge them if they are valuable or not for society. Because the pawnbroker abuses her position to let people suffer, Rodion Raskolnikov decides to eliminate her. He justifies his murder as an utilitarian act, he helped society to get rid of someone with no value and utility. Yet, Sonya as his “teacher”, forces the main lead to question his nihilistic belief in the end.
As a conclusion, the Russian protagonist has the impression that he is very different from others, he stands above everyone because of his intelligence and his belief. But at the end, he is forced to drop his doctrine and is transformed into a human, able to love and admit his wrongdoings. He rediscovers his humanity and as such he loses his arrogance.
Striking is that his portray is very similar to Yoon Seungho’s. Both are anti-heroes because of their actions. While the Joseon version commits rape
and kills a servant without blinking an eye
, the other murders a pawnbroker by justifying it as an utilitarian act. Because Rodion Raskolnikov didn’t expect the presence of a witness, he is forced to assassinate the sister. The student is even brutal in the way he kills the two women: they are both cut by a axe. The protagonists’ wrongdoings symbolize the epitome of selfishness and violence and both legitimate their actions with a reason. In Yoon Seungho’s case, killing the servant was to demonstrate his power demanding respect as he had been lied to. He could do so because as a lord he had the right to decide about his servant’s fate. Then concerning the rape, Yoon Seungho imagined that if they had sex again, the painter would submit himself and acknowledge his superiority. As you can observe, both wrongdoings are related to power and superiority, very similar to Rodion’s philosophy. However, there is a huge difference. Yoon Seungho is entitled to think so because of his actual social position. He stands indeed above others due to his family’s origins and his wealth, whereas the Russian main character is just an impoverished student, who considers himself superior due to his intelligence and skills. Nonetheless they are quite similar in their mentality. Since the Russian student considers himself as superhuman, it means, he is closer to a god than to “normal, mortal” humans. And now, if you focus on the main character from Joseon, you’ll detect a parallel. In the beginning, the lord considers himself as a spirit hence he lives detached from others. This signifies that he doesn’t acknowledge the existence of his body. Since he is only living through his mind, his body is only a tool to defeat his enemies. That’s why he is so cold, distant and indifferent towards others which reminds us of Rodion’s personality. One is a superhuman and the other a spirit, hence they feel so superior to others. Furthermore, the lord was also influenced by his intellectualism. Since he had read so many books, he had the impression, his immense knowledge was surpassing all the other nobles. However, the irony was that he could never show his education and his free spirit as he was totally alienated from society. And his isolation is also visible in the manhwa.
What caught my attention is that he seldom leaves his mansion and if he does, it is always related to Baek Na-Kyum. The latter forced to change his habits. He had to go to a tavern
(chapter 1), then he visited his friend Jihwa at dawn (chapter 3)
or visited the low noble Jung In-Hun
and later strolled through downtown with Baek Na-Kyum (chapter 40
and chapter 45)
As you can observe, the painter is the one, who puts an end to his alienation from society, although the lord is not aware of this. We have to question ourselves if the hunts are not the result of Baek Na-Kyum’s positive influence on Yoon Seungho too. It is definitely possible that the latter felt the need to hunt because he was so happy after having experienced their “Wedding night” (chapter 21) and sharing his bed with the artist for the first time (chapter 38).
And now, if we look at the reasons why the protagonist hired the artist in first place, the manhwaphiles realize that it is connected to his unconscious but also to his conscious. In the first case, his gaze and heart were moved by the warmth and love exuding from the images. In the second case, the master wanted to have his victories immortalized. Moreover, the paintings would serve as a proof of his own existence as a spirit. Finally, he couldn’t bear the thought that he could never get new paintings, he needed stronger stimuli. That’s why he told to Baek Na-Kyum in chapter 55
. Note the similarity with Rodion’s thinking. The low-born’s function was first defined by his utility. Yoon Seungho desired to use him as his new toy in order to entertain himself. Striking is that even the words outline the lord’s loneliness and burden. He wasn’t happy at all, he needed distraction. Therefore, I perceive, Yoon Seungho’s brutal honesty as a proof of his own overestimation. He considered himself so superior and level-headed, while in reality he was deeply hurt and isolated. He was deceiving himself. Besides, he could never show his education to others which explains why his own image diverges so much to the one Jihwa and the others have about him. He never recognized the real nature and consequences of his actions. For him, he was just focused on fighting the nobles, while for others, it looks like he was obsessed with sex. Yet we all know that he never felt sexual pleasure before seeing his first portray with his sex partner. What caught my attention here is that the lord doesn’t even acknowledge the artist as human, he is a toy. He has neither rights nor feelings. And this cold and detached judgement corresponds to the lord’s mentality from back then. He was just a ghost hence he didn’t need to pay attention to others and their feelings. They were just tools for his own interests.
Just like Rodion who saw himself as a superhuman in the beginning and accepted his true condition at the end (being a normal man), I see a similar evolution here. Little by little, the noble is transforming into a human. He is slowly dropping his doctrines and belief one by one:
- It started with the liberation of his body, the lord realized that with his body he could feel pleasure.
Everything is related to his self-hatred. Thanks to Baek Na-Kyum’s picture, the lord was able to perceive a different image of himself. His gaze, as a mirror of his soul, revealed attraction and beauty. In my opinion, Yoon Seungho stands in opposition to Raskolnikov here, because the latter never hated himself in the first place. In fact, we have a reversed situation. Rodion comes to hate himself with the mental torture and the realization of his wrongdoings and true personality. Yet, just like with the noble from Joseon, the main lead from Crime and Punishment comes to accept himself again thanks to Sonya’s love. - Then when the aristocrat tasted the painter for the first time, he experienced love and warmth for the first time as well. He met someone who could love someone else spiritually. Secondly, the main lead discovered sensuality too. That’s why he was no longer interested in having sex with other nobles and was waiting for a renewal of this wonderful encounter. In that moment, the master’s heart was determined to gain the artist’s love, while he was thinking that he was just asking for a spiritual love through a lovely gaze. However, the main lead believed that his decision had been made by his mind. He rationalized and justified each action rationally, until he was confronted with reality.
- In that moment, he could no longer repress his emotions,
which he had been numbing all this time with the wine and smoke. The rejection reminded him of his traumatic past hence he couldn’t control his outburst. He felt helpless, angered and painted therefore he couldn’t decide rationally. He acted on impulses. Yet this terrible experience made him realize at the same time that he was powerless. Neither his force nor his caring side
(he brings his own robe himself) could move the painter’s heart. And if you observe the lord’s behavior, you’ll notice how he makes decisions more and more on affect (from chapter 25 to chapter 33). His emotions are clouding more and more his judgement. It was, as if his heart was taking possession of his mind or his mind was put off. Nonetheless, the readers observe the return of his rationality, which is linked to his huge pangs of conscience. Because of the painter’s sickness, he was faced with the painter’s fragile constitution. Since he was a spirit, he hadn’t taken into consideration the painter’s true condition. The latter was a human and could die. That’s why the lord felt such huge pangs of conscience. Reality was showing him that his dream (spiritual love) was just an illusion. And his remorse and guilt remind us of Rodion, this is his actual punishment. He is forced to change in the end, although he is not really realizing the gradual metamorphosis. That’s why he had sex with nobles again. He imagined that since it was just an illusion, he could return to the way he lived before. However, he was wrong. Notice that between the chapter 33 and 34, we observe the return of Yoon Seungho’s rationality. Once separated from the painter, he realized Baek Na-Kyum’s importance in his life due to Min’s challenge. What caught my attention is the words he said to Min. He declared the painter his possession (“what’s mine”)
. Yet, this time the lord was seeing the commoner more than just an object, he was his servant. Like I explained in the first part, Yoon Seungho didn’t realize, he was considering him as a servant. His unconscious and heart desired him to be a free man, while his mind was treating him as a domestic. During this evolution, we have to keep in mind that the lord was still denying the existence of his body. That’s why he had problems to comprehend his negative feelings (f. ex. chapter 27), he was unable to distinguish his mind from his heart and couldn’t discern the contradiction between his words
and actions
. Therefore I come to the conclusion, the lord was still living like a spirit in chapter 48 and could only be offended by the painter’s words: “He is a man consumed by sex”. In his eyes, he was never a man but a ghost. All this time, I had imagined, he was only bothered by the expression “consumed by sex”. However, I perceived it a differently now. He was annoyed too that he was perceived as a human. - However, it changed the moment, the painter decided to accept him as his sexual partner. In that moment, the noble was cornered. If he couldn’t share his mind with the painter
, then at least they could connect physically. Back then, I considered this decision as the following: he was lowering his expectations. He was giving up on the painter’s heart, which is only partially correct. In my opinion, this choice was actually important, since it meant that the lord was accepting the existence of his body.
He was renouncing on his identity as a spirit. Soul and body were now together. He was becoming a human. Furthermore, it also signified that he was no longer forcing the painter to become a spirit (“share their mind”). He had imagined that if he was gazed by Baek Na-Kyum, like he desired, then the artist would recognize his spirituality and the existence of his good and impressive “soul”. However, this didn’t work like he had anticipated, because the next morning he was told that the artist viewed himself as a prostitute. So now he was trapped in his new body but couldn’t even connect physically with the painter. That’s why he had a relapse but this time, it was different. He needed to numb his body, as he desired the painter so much but he couldn’t even touch him. That’s why he had no sex with nobles, but consumed drugs.
What caught my attention in this scene is the absence of Seungho’s response to Min’s questioning and mocking. It was, as if his body was present and his mind elsewhere. From my perspective, this symbolizes that the mind and the body are still separated from each other, mirroring the struggle between the conscious and unconscious. This signification explicates why the noble behaved so differently. In one moment, he was cold and detached, willing to offer the painter to his guests, although he was infuriated, and the next moment, he was protecting him from the vicious servant. Yet, the result of his bad decision was caused by the dichotomy between mind and body. The noble might have acknowledged the existence of his body but he was still denying the existence of his heart. If he had feelings for the painter, then this meant that he was a human after all. - That’s why the moment he recognized his huge mistake in chapter 54, he decided to give up on the painter. He was finally accepting his condition as a human. No man would ever love someone like him. He was selfish, brutal and very emotional, putting the blame on the painter. His reasoning was so that the commoner would run away. As you can see, I consider the first love confession of the master as the end of the separation of body and mind. The lord has finally accepted his condition: he is a man made of flesh and blood with a soul. However, he still considers himself as a noble, something he has internalized due to his father’s principles. So from a spirit to a ghost inhabiting a body to a noble, the lord’s condition has changed a lot. However, his transformation is not complete.
- But since he considers himself as a noble, the status of Baek Na-Kyum hasn’t changed yet. He is still viewed as a servant. That’s why he imagined that the artist had remained by his side out of duty. And now the chapter 58 marked another turning point, the lord was finally giving up on the following doctrine. He admitted his defeat, the painter had won the battle and the lord was no longer a victorious champion. The artist was so powerful that his master became a wreck.
However, note that the notion of battle has not entirely vanished, the struggle is still present. He is willing to love the painter selflessly, but he expects respect for his gestures. And now, imagine how he must have felt, when he is told that the painter escaped and was even suicidal, since he abandoned the warm clothes. Yoon Seungho had the impression that he had been rejected again. That’s why he was on the verge of killing Baek Na-Kyum and himself. He had the impression, all his changes had brought nothing. It was, as if it was never enough. So he sent the painter to the storage room and chose to calm down. Notice that his emotional outburst
is quite controlled and short-lived, compared to the first explosion of negative emotions (chapter 25). Only one word can bring him back to reality.
This shows that little by little, the lord is learning how to control his heart and find the right balance between his mind and his heart.
When he starts smoking again, he is trying to dominate his urges. However, let’s not forget that he gave his robe to the painter, revealing that his love for the painter is still intact. What caught my attention is that he is not running away either or trying to numb his pain with drugs. He seems more collected. And since his mind was in the second part of the series more clouded than before, I believe that we will see a different master in the next chapter. He won’t react like in chapter 26, when he couldn’t even handle a small gesture of refusal.
. As you could observe, the rebirth of the phoenix hasn’t occurred yet. The lord is slowly accepting his condition as human, seeking for love and companionship. Just like Rodion who could change for the better, the main lead is transformed thanks to the painter. Only he could transcend the protagonist’s philosophy, his contempt for humanity. Baek Na-Kyum ignites the lord’s desire to live normally and to show his true side: he is in fact caring and sensitive. Yet, the lord has still a lot to learn: he needs to give up on their master-servant relationship. In fact, I have the impression, he is using it now, because if he didn’t, he would have no connection with the artist in his mind. What he hasn’t realized yet is the change of the artist’s gaze. Since the painter is rejecting him, he can only act as his lord. That way, the painter can’t cut ties with him entirely. However, this situation puts the noble in a difficult situation: if he loves him, why would he punish him like that? If he loves him why would he treat him like a servant? I am expecting a good outcome in the next chapter. Both sides will be forced to define the true nature of their relationship. Nonetheless, there’s no doubt for me that Yoon Seungho will renounce on his title at some point. So if he spends the night in a storage room, we could interpret it as a symbol of his renunciation and humbleness. His desire to stay by his lover’s side is stronger than his pride and his principle taught by his father. The end of his journey will be, when he has found the right balance between his mind and heart. He will become a real man, a human full of knowledge and positive emotions. This signifies, he will be at peace with himself. However, as long as this metamorphosis continues, the lord’s mind and heart will be too busy to focus on his enemies. As a conclusion, Yoon Seungho’s path is resembling Rodion’s, both are characters destined to recognize and accept their humanity thanks to the support of the love of their life.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Painter Of The Night: “Crime and punishment – part 2”
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.
In my first part, I had briefly described, how the manhwa Painter Of The Night has similarities with the Russian novel “Crime and punishment”. The anti-hero Dorion Raskolnikov, a poor student, is plagued with a guilty conscience after committing two murders. One might think that the student killed the pawnbroker due to his terrible financial situation, yet in reality it is different. Since the protagonist considered himself superior to others, developed the idea of superior humans, who were not bound to society norms and rules. Consequently, he justified his crime as an utilitarian act. However, during the assassination, he was forced to kill the pawnbroker’s sister, as she witnessed his misdeed, already revealing that he was no god. Moreover, after committing the crime with a certain brutality, he started feeling guilty, reminding him more and more of his true condition. He was just a human after all, like all the others. The burden of remorse became so heavy that he felt the need to confess. First, he admitted his crime to Sonya, a prostitute, and finally to the authorities.
Like I mentioned in the first part, Jihwa reminds me a little of Dorion Raskolnikov because of his terrible guilty conscience.
Yet, there is a huge difference between them. Dorion Raskolnikov is a nihilist and he is totally alienated from society, which is not the case for Jihwa. The latter trusts people, especially his fellows from nobility. That’s why he talks to his friend and Min about his special relationship with his childhood friend.
His immense trust is palpable, when he takes their words as face-value (chapter 37). That’s why despite their similar situation, the burden of a crime, Jihwa’s torment is different in reality. He is not planning a murder because he considers himself superior to others or due to his philosophy. In fact, he feels remorse and suffers anxieties, even before the murder has taken place. And this reveals his purity in a certain sense. His conscious knew very well the gravity of the crime but his heart, blinded by his selfish desires and his trauma, chose to ignore it. Therefore Rodion’s course diverges so much from Jihwa’s path. While the former discovers his true condition and reconnects with his humanity, the red-haired noble will lose his innocence, chased away from Garden of Eden, and the readers will witness his transformation into an adult, into a real man.
It all started with a simple sentence.
Although Jihwa had the impression, it was just a suggestion, in fact it was an order, as lord Min was using the imperative tense. And this is no coincidence. The snake had to deceive the naive noble by letting him think that he was making a choice. In order to seduce to commit a sin, Black Heart tried to diminish the gravity of the wrongdoing with the idiom “Just”. First, it creates the illusion that this is an easy solution to his difficult situation. Secondly “Just” is so short and yet so deceptive, because it hides the horror of reality. The most interesting part is that during that meeting, the second lead acts like a child.
He doesn’t speak with the personal pronoun “I” but “we” showing that he is not differentiating himself from the others. It was, as if he considered Min and the others as his parents and had not his own identity. He is not able to make the decision on his own. This scene shows his lack of maturity. Sure, he questions Min’s words with this interrogation. Realizing that his first attempt was not successful
, Black Heart knows how to trigger the naive man by turning Yoon Seungho into a victim of a low-born, a seducer bewitching his friend.
That way, Min gives the lord a justification, he will do it as an utilitarian act and save his friend from the greedy commoner, while in reality Black Heart is well aware that jealousy is actually the real reason for the assassination. And here, I see another similarity with Dorion’s justification. The latter used his nihilistic philosophy for the murder, while in truth, it was a gesture of selfishness and arrogance, since he believed he was above law and faith.
However, since the murder didn’t take place, then it means there’s no crime and as such no punishment. It looks like Jihwa was able to maintain his innocence and purity. And that’s exactly how Nameless is thinking.
The criminal’s words have an impact on the aristocrat, leading him to think that nothing happened.
However, both are totally wrong. The abduction was a crime and the horror the painter was exposed to and what he had to hear and fear
, will leave terrible marks in the painter’s mind. Let’s not forget, how he was suffocated till he fainted and Byeonduck truly outlined the gravity of the misdeed.
sure, this image comes from a nightmare but it is influenced by his traumatizing experience. This will definitely leave a huge trauma on Baek Na-Kyum, which will be followed by nightmares.
And Seungho will realize, how his loved one was hurt and since he was exposed to a similar situation, his thirst for revenge and punishment will be definitely huge. Besides, he will blame himself again. First, he was unable to protect the painter from the nobles, and secondly he punished him himself, though he was truly innocent. That’s why I am expecting a purge, organized by the protagonist. However, don’t get me wrong, I am not saying, he will act like with his staff. He will use his power and connections.
Since there’s a crime, there’ll be a punishment. And in this chapter, the manhwalovers can observe Jihwa’s “immaturity” once again.
“It [the murder] is of no consequence”. Observe that Jihwa didn’t renounce on the assassination, because he realized the real gravity of the crime. Nameless described the killing as horrible as possible so that he would get a shock, unable to face the brutality of reality, and it worked. However, Jihwa decides to give up, as he recognizes the futility of the action. He will never obtain, what he really wanted. And for me, the expression “it is of no consequence” shows Jihwa’s lack of maturity. The abduction and the horror he was exposed to made him run away
, while the painter couldn’t. While Jihwa was able to escape and to vomit to overcome the shock
, Baek Na-Kyum never had the chance to do so. So there will be consequences, which neither Jihwa nor Nameless are expecting. Why? First, Nameless has the impression, Jihwa acted as a jilted lover and imagined, he had acted on an impulse. That’s why he feels sorry for him. He looks like he was a passionate and genuine lover. Nonetheless, he has no idea what the red-haired noble did to his childhood friend and why Yoon Seungho rejected him. But more importantly, he is not aware of Min’s participation and manipulation. He has no idea that Jihwa was the puppet used to hurt Yoon Seungho, so that the latter would be humiliated and lose his place as alpha among the nobles. Remember what I wrote before, Min gave Jihwa an order and nothing else. So when he visited the noble in chapter 56, he actually reminded him to give the order for the murder.
At the same time, Min knew that there would be an abduction, as Min had recommended to make it look like an accident.
Notice that when he asks to be part of the plan, he is acting, as if he was only a participant and Jihwa was the mastermind. He wants Jihwa to take the blame, in case something goes wrong. However, since he is using the imperative tense, this signifies that Min is giving an order and this is really important in my opinion. He is truly a puppet master, letting people think that they make their own decision, while in reality he corners them and forces them to decide what he really wants. Even Seungho fell into his trap in chapters 52-54.
While Nameless doesn’t know about Min’s involvement and request, the red-haired noble is unaware that his hands are already tainted by blood. Yes, he is responsible for Deok-Jae’s death. And in my opinion, the servant’s death will become a tool for Yoon Seungho’s vengeance and justification for punishment. Let’s not forget the friend’s words during that dinner:
Even Min could face punishment, if they are caught which reveals Yoon Seungho’s true power. However, Black Heart dismisses the point by saying that they just need to make it look like an accident. However, the way Deok-Jae was killed doesn’t look like an accident.
Since the condition is not met, this means, Yoon Seungho has a justification to go after them. And now, here is the question: who will be framed for the crime? Jihwa could definitely been betrayed by Min, which will symbolize Jihwa’s Fall of Eden. However, there is another possibility that Jihwa doesn’t face any punishment immediately and someone else becomes the target. Let’s not forget that in “Crime and punishment”, a painter is framed and we have a false confession too.
I have the impression that the noble with the mole could become Yoon Seungho’s target. Why do I come up with this idea? First, Jihwa seems to admire the relationship he has with Min.
Besides, the red-haired aristocrat seems very close to the man dressed in purple. The latter visited him after the humiliation suffered in chapter 8, so did the second lead after discovering Yoon Seungho sleeping with the painter in chapter 43. So they both confide to each other. Secondly, let’s not forget that Byeonduck’s work contains a certain pattern. Min challenged the main lead twice during the first season (33-41) and the second season (52-54). Then Jihwa was humiliated once in season 1 (chapter 17-18) and it occurred in chapters 56-57 in season 2. Yet, the man with the purple role was dragged away in chapter 8 but nothing has happened to him yet. Imagine Jihwa’s reaction, if something like that happens to his friend. He will definitely agonize, because he will feel responsible for his friend’s misery and will blame Min for abandoning him. The admiration expressed above outlines his innocence one more time. Finally, Crime and punishment is also my source of inspiration. Due to a false confession and accusation, Dorion decides at the end to confess his involvement. And this could definitely happen in Painter Of The Night. Jihwa takes his responsibility and decides to confess the crime. This would turn him truly into a man. But okay, this last part is just a speculation.
Nevertheless, right now, Jihwa has no idea that his decision to abduct the painter has consequences, just like Nameless is not considering an abduction a crime. Both are living in an illusion, though Nameless believes, he knows the world so well. Their short-lived peace will end soon and the comfort experienced with Nameless will leave a bitter taste first, the moment Jihwa hears about Deok-Jae’s death and its consequences. There’s no doubt that Jihwa will resent Nameless for the murder. He already criticized him for involving the vicious domestic in their plan. I believe, Jihwa will blame him for this and Nameless will confront him with his initial decision. He was hired to kill someone. Even if the money was returned, it doesn’t mean that everything is erased. Jihwa made the decision to hire Nameless and as such, he needs to take his responsibility.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Protected: Painter Of The Night: Crime and punishment – part 1 (second version)
Painter Of The Night: “It all started with…”
Please support the authors by reading the manhwas on the official websites. This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night
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Now, you are wondering why I chose such a title, because it offers so many possibilities. And that’s exactly the reason why I selected this title. I didn’t want to reveal immediately the real topic of the subject. Furthermore, I desired to look at the manhwa under this aspect, since it helps the readers to get a new understanding of Yoon Seungho’s actions and behavior.
1. … A painting
It all started with a painting, which caught Yoon Seungho’s attention and aroused him so much, that he became slowly dependent on the erotic pictures made by Baek Na-Kyum to the point that he had to use them all the time.
(chapter 1) However, the moment Baek Na-Kyum stopped publishing, the addicted noble realized his terrible situation. He needed to have the creator by his side, since he couldn’t give up on his “addiction”. The paintings had become his drug and the moment the author stopped publishing, it made the lord recognize, that he needed to become the supplier. He couldn’t remain a buyer, since he was put in a vulnerable and insecure position. Therefore we could say as well, it all started with the painter’s vow.
Because of Baek Na-Kyum’s resignation, the lord suffered immensely, yet simultaneously the latter didn’t want to change his habit for his nightly activities. That’s why he had to find the source of his addiction: the anonym artist. And now, the first image gets another dimension. His smile not only expressed his happiness, but also exposed his intoxication at the same time. In other words, his euphoria was more artificial, as he was in the presence of his drug. This explicates why the lord was so self-centered and selfish in the beginning. He was prioritizing his own needs. Don’t get me wrong… I am not saying that his feelings for the low-born were not genuine, it was actually a combination of both. His unconscious had sensed the painter’s sensitivity and felt a certain closeness, yet because of his debauchery, the lord had perverted it and was behaving like a drug addict. Now, it becomes more understandable why Yoon Seungho had already announced a death sentence,
(chapter 1) in case his wish didn’t get fulfilled, and why he became so “bloodthirsty” after the rejection. Just like a drug addict who becomes violent, if he is unable to get his drug, he felt the urge to release his anger.
(chapter 1) It was, as if he was in withdrawal and couldn’t bear the thought, he hadn’t obtained what he desired. So when I compare the painter and his work to a drug, it puts the low-born in a bad light. Nonetheless this is not my intention at all. For me, the painter represents his cure in reality. Let’s not forget that the powerful aristocrat’s heart has been poisoned, corrupted by his father, therefore in order to get cured, he needs to find another “poison”, it’s like fighting a poison with another poison.
First, the painter confronts him with his own reflection (beautiful, attractive), which he has never experienced before. This drug is even more addictive than before, procuring new sensations. He becomes so high that he can’t control his erection and feels the need to have sex so early.
(chapter 3) We see here the lord intoxicated by the new drug. It did release him from his prison, his self-hatred. Moreover, it helped him to see more clearly for the first time. His eye in his mind was now free from any corruption. Nonetheless the next day, he is faced with a different image. More precisely, his ears have to hear a terrible truth. Now, he is a man consumed by sex, which causes him to become pensive and depressed. He is no longer feeling the urge to have sex with Jihwa.
And now, the manhwaphiles comprehend the true nature of the new drug: the painter’s gaze is liberating the lord’s senses, very similar to Jihwa. This is not surprising that the first two paintings
(chapter 2)
(chapter 10) he makes show our lord looking at the painter. Imagine, in the second image, he even has two sex partners by his side, yet his attention is directed at the creator and not his partners. This painting exposes their locked gaze and their growing intimacy. Baek Na-Kyum’s gaze has become the lord’s obsession, his new drug. The paintings Baek Na-Kyum creates exude warmth, beauty and naturality which stands in opposition to the world, where the lord is living: fakeness, superficiality, distance and coldness. But the lord’s attraction towards the painter increases so much that he would like to taste the artist. In other words, if he devours Baek Na-Kyum, he might get high again because the pictures are no longer enough to satiate his urges. Now, you can understand what this means. Having sex with the low-born signifies, he is “increasing” the dose. Note that this coincides with the third painting, where he is looking at Jihwa and not at the painter.
During that night, he asked the commoner to join them. He was clearly expressing his interest in the artist. The locked gaze was no longer satisfying. This is also not surprising that the next day, he has no problem to cut ties with his long-time lover Jihwa. The artist has slowly replaced the sex partners. Without realizing it, the lord is becoming monogamous. Observe that from chapter 16, he has no nightly activity at all, contrary to the past. He makes a relapse in chapter 33, due to his guilty conscience. However, the moment he realizes that some nobles, especially Min, are looking at his “drug”, he recognizes what it really means, if he came to lose his new “drug”. His life and situation would be worse than before. Baek Na-Kyum’s gaze only belongs to him, hence he is willing to face a negative reflection.
Notice that the moment he is no longer obsessed with the paintings but with the artist’s love, he is no longer interested in his nightly activities. After chapter 21, he waits for the painter. He has already become monogamous. The long awaited picture serves a different purpose. Yoon Seungho would like to have a proof that he is loved by the painter. The image no longer represents his victory over a man and as such the noble he despises, but the mark of their love. He doesn’t feel the need to get aroused by the pictures.
2. … a kiss and embrace
Striking is that the moment he has sex with the artist, he discovers a new world: love and warmth. That’s the reason why this night still haunts his mind till the chapter 58. It all started with an innocent kiss but most importantly with the painter’s hug.
(chapter 19) Notice that the moment the painter confesses to Seungho, he puts his hands on his shoulder and then he kisses him. But this doesn’t end here, later he puts his hands around his shoulders.
(chapter 20) For the first time, the noble is embraced. And now, if you look at all the sex sessions he had with Jihwa or the others, the main lead was never truly hugged.
(chapter 8)
(chapter 9)
(chapter 15) [I am not quoting the paintings again which could be added to this list] One might argue that in the first panel, the sex partner is hugging the main lead from behind.
However, this gesture reminds us much more of a fight than of a real embrace, corroborating my initial interpretation of sex sessions. In truth, they are battles, where the ukes are the defeated ones. It looks like the noble is restraining the protagonist from moving. It’s, as if he was trapped. From my perspective, there is always a distance between him and the sex partners, especially in the threesome.
(chapter 10) The lower part is focused on Min, while the mouth is busy kissing the other aristocrat. Yet Seungho’s chest, eyes and mind are neglected. Striking is that the main character is portrayed with no arm exposing his incapacity to hug anyone. And now, you understand the importance of the hug. During their first night, the painter keeps hugging the lord, although his gesture is quite reserved in the beginning. This ignites a desire in Yoon Seungho, the latter feels the need to return the embrace and hug the artist.
(chapter 20) Yet, the more time passes on, the more the low-born holds the noble more tightly.
(chapter 21) The painter voices the wish to be embraced. That’s why the former puts him on his lap.
(chapter 21) You can sense that Yoon Seungho is willing to fill the gap and feel as close as possible to Baek Na-Kyum. He hugged him on his own first, yet the artist was the one embracing him fully at the end.
(chapter 21) That’s why we could say that it all started with an embrace, the real cure. The painter’s gaze accompanied with the hands on Seungho’s shoulder created a new euphoria. This explicates why he was so obsessed with that night, why he attempted to renew this wonderful experience. In chapter 25, he tried to hug the painter from behind but failed terribly.
(chapter 26) This was a gesture of defeat and submission and never an embrace full of love. One might argue that the noble had already hugged the painter before,
(chapter 16) hence the artist’s hug during their Wedding night can’t mark the start. Yet, if the manhwaworms look at the way the master held the commoner in chapter 16, they’ll notice that the lord is hugging Baek Na-Kyum from behind. He was definitely restraining him from leaving his bedchamber, like a predator catching his prey. Sure, there’s no doubt that there exist emotions behind his gesture. Nonetheless, the hug was more under the influence of the unconscious. Consequently it is different from the night in chapter 19. Here, the lord was more looking for sex, whereas in chapters 20 and 21, it was a mixture of sex and love. However, at the end love became triumphant and the lord was no longer interested in sex.
And now if you perceive the painter’s gaze and hug as “drugs”, you can imagine why Yoon Seungho became so infuriated, hurt and violent at the pavilion. Like a person on withdrawal, he couldn’t control his emotions and behavior.
Once he became sober, he realized his mistake. His mind had become clearer again. In my perspective, the “cure” helped him to release his emotions, which he had been repressing for so long. This explicates why he was reminded of his tragic past and relived his traumatic experience. He had decided to become numb in order not to feel any pain. The problem is that the moment he discovered love, he was not recognizing that he was allowing his heart to feel pain as well. Love and pain can’t be separated.
With this new perspective, it becomes understandable, while the lord hugged the artist while bathing.
(chapter 59) He became addicted to the hug. The problem was that the painter seemed to have forgotten their lovemaking. On the other hand, the lord couldn’t forget the painter’s arms therefore he often grabbed the artist’s arm
(chapter 22)
(chapter 30), as if they were a treasure to him. The roughness vanishes gradually, for the lord changes for the better as well. But more importantly, in the following gestures, the readers can sense his desire to hug the artist. And as time passes on, the gesture becomes more obvious and pronounced. It started with an arm,
(chapter 22) then it was the chest
(chapter 40) ,
(chapter 42) until it became a real hug.
(chapter 49) However, the real climax is reached in chapter 58. This time, the aristocrat in love is holding him so tightly with his both arms.
(chapter 58) There is no gap between them, the artist is no longer putting some distance with his head, unlike in chapter 49 (third panel above) or the lord is grabbing the neck to make sure that the artist keeps kissing him (second panel above). Yet, while they make love 
(chapter 58) , the lord is no longer holding him and gazing at him, he is just grabbing his hand and whispering his love confession. This signifies that the lord has truly given up on his dream and has accepted reality. The painter’s gaze and hug were just an addiction and he is admitting that he will never be loved. He will see this night as a wonderful illusion but he won’t feel any anger, despair and pain after that night. We could say that the lord has finally defeated his inner demons and addiction. He is free from his past and can now use his mind clearly.
(chapter 61) Baek Na-Kyum purified the lord so that the latter has truly become selflessness and no longer needs sex. He won’t organize any sex session or any party with wine and opium. In my opinion, the last debauchery symbolized his final relapse. Observe that during that week, he had no sex and wasn’t even aroused, when a noble gave him a blowjob
. Sex has become irrelevant thereby we can conclude that his transformation is complete. He has become a truly reformed man.
(chapter 61) And as much as it pains me that the lord won’t look for the artist right away [that’s my theory and since Byeonduck liked a tweet where I expressed this], I believe, this picture symbolizes something positive too. The lord’s mind and heart are at peace. Now, he can think and see lucidly and once he discovers Baek Na-Kyum’s painting and the tools left in the study, he will recognize his mistake.
3. … the arms and hands
And because it started with a hug, it becomes comprehensible why the lord loved hugging his lover. In reality, he wished to be embraced too and the hug in chapter 16 externalized his deeply repressed desires. This is not surprising that a hug from the painter could stop Yoon Seungho’s rage and fury.
Imagine his emotions, when the low-born did this. In that scene, the master was acting like a monster, nevertheless it didn’t stop the artist to embrace him despite the slap and his ugly behavior. But for Baek Na-Kyum, it was the same as well. He also longed to be embraced hence for him, their Wedding night represented a dream, where he could express his desire and experience what he wanted to have. He wanted to express his love, shower his learned sir with his affection. Strangely, it started with a hand
(chapter 30) forcing the low-born to accept him as his new master. However, notice that the painter’s hands become more decisive and grab more firmly Yoon Seungho’s wrist in chapter 42.
(chapter 42) This reflects the evolution of their relationship. The painter is here accepting the aristocrat as lover. Simultaneously, he is touching the place where the lord’s unconscious is voicing his desires. And this gesture triggers the lord later to put him on his lap, attempting to embrace him. And the more the lord hugs the painter, the more the latter is affected by it. The reason is simple. Just like the main lead, the commoner was deprived from warmth and love for so long and receiving it for the first time, this could only move the main lead. The manhwaphiles should remember that the artist asked the master to hold him in chapter 41
(chapter 41), exposing his need for comfort and embrace. Yet back then, the lord was confusing love with sex hence he couldn’t give correctly what the painter desired. He was not able to distinguish the difference. In truth, both were lost persons mixing up sex with love due to their terrible fathers.
Nonetheless the latter rejected the affection from Yoon Seungho in chapter 49, as he had been reminded that a hug could be fake. So he was still doubting the protagonist’s feelings. The significance of the embrace explicates why the low-born is affected in chapter 58.
He keeps blushing displaying his emotions. He is really loved, displayed by the lord’s words and gestures. That’s why the hug is reciprocated but it is too beautiful to be true. Consequently the noble doubts its existence.
But because it all started with a kiss with a hug and love confession, we have to imagine that the artist will feel the same need than the protagonist in chapter 22. He will long for his lover’s arms, especially after that terrible experience. That’s why I am convinced that the moment Baek Na-Kyum returns to the mansion, he will definitely try to embrace Yoon Seungho, missing his warmth and protection so that we have a new version of the hug in chapter 53.
As a conclusion, we have two protagonists deprived from their own body due to their fathers’ abuse. Finally, both were able to find what they had been longing for a long time. And since the lord is no longer a man consumed by sex, he will be able to show his love differently, supporting his love in his education and his talent. Yoon Seungho will become his sponsor and drop the surrogate father for good.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Painter Of The Night: The painter’s gaze
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.
The more episodes we get and the more I examine, the more meaningful certain panels become after reading the novel again. Let me give you an example. After analyzing the significance of candles, I noticed the symbolism of the following image.
In chapter 30, the candlestick falls on the ground due to Baek Na-Kyum. The latter has been placed on the cupboard by the protagonist, because the latter wants to corner him and limit his resistance. As you already know, the yellow bougie on the candlestick embodies the noble. Since there is no light, there’s no warmth and yellow outlines his selfishness, reflecting his actual disposition and behavior. He is anything except loving and warm. The fall of the candle represents his inner turmoil. The painter’s escape upset him so much that he was destabilized. He felt so powerless, as he couldn’t stop the low born’s desertion. It was, as if his world had been turned upside down.
Neither his force nor his word nor his thread could break the artist’s strong will. Although he stands here, we have to envision, he is actually behaving like an angry child, who threw himself on the ground, screaming and gesticulating, as his desire has not been fulfilled. Therefore he could only express his frustration and despair by venting his anger and pain towards his staff. And the fact that the candle falls on the ground because of the artist is the metaphor for the real cause of the lord’s negative emotions. Let’s not forget that Seungho was the reason for the painter’s departure, just like the aristocrat is the reason why Baek Na-Kyum brings the candle down from the cupboard. Now, you understand why the author would use such an image, although it doesn’t contribute to the evolution of the story. Therefore it becomes obvious that the manhwalovers should pay attention to each picture and analyze it in order to discern a possible meaning. Yet, it is the same if a certain panel doesn’t appear, though it should in a sense, as Byeonduck had used the same type of pictures with little alterations. Now you are wondering which image should have appeared but didn’t in a certain episode. Let me give you a series of pictures and try to find the common point.
(chapter 21)
(chapter 25)
(chapter 39)
(chapter 42)
(chapter 45)
(chapter 50)
(chapter 54)
After looking at the different pictures, you have already noticed the common denominator. Yoon Seungho is always gazing at the painter’s eyes and facial reactions. Even in chapter 25, where the manhwaworms are not able to distinguish the lord’s eyes, they have to imagine that the latter is somehow attempting to look at the artist’s gaze from the side.
What caught my attention is the difference of the size of Yoon Seungho’s eyes. First, his eyes are more open in chapter 21 than in chapters 39, 42 and 45, giving the impression that the more time passes on, the smaller his eyes are until the chapter 50. Here, they are even more open than in chapter 21. Yet, there’s a huge difference. This time, the painter is deeply sleeping hence there’s no reflection in the painter’s gaze. From my perspective, the smaller his eyes are, the more uncertain he is about the artist and somehow fears the reflection. Hence he has his eyes wide open in chapter 50, since he knows that the painter is asleep. He doesn’t have to fear his gaze. And now here is the next question: why is he so obsessed with the painter’s gaze? The answer is quite simple and I am quite sure that many readers already know the answer. This brings me to the following explanation. We heard from the main lead that he wished to be gazed like Baek Na-Kyum looked at Jung In-Hun.
In my opinion, he experienced the artist’s tender gaze during their first night together which moved his heart so much, though he didn’t realize it right away.
This was the gaze he wanted to receive and this was his reaction.
The painter was blushing and his eyes were half-open but he looked directly at him exuding desire and love, thereby the aristocrat felt desired and loved for the first time. So until chapter 49, he hoped to relive the same gaze and facial expression (blushing) but it never truly occurred again. This explicates why he was happy, when the artist would redden in his presence. He had the feeling that he had progressed and was getting closer to his dream. Yet since he had been rejected many times and had made huge mistakes (chapter 25, 26, 30-32), he would rather glimpse at Baek Na-Kyum, already pleased that the painter was no longer rejecting him and even showed a certain pleasure like in chapter 39.
However, the turning point in Yoon Seungho’s life is the night where he felt rejected, although the artist didn’t mean it that way.
His eyes are wide open, there’s no blushing, rather fear or doubt. In other words, Baek Na-Kyum’s eyes and facial expression oozes the exact opposite of their wedding night. This was, as if Yoon Seungho was confronted with reality. He will never be loved by Baek Na-Kyum. Out of heartache and fury, he made a wrong decision. After recognizing his huge mistake, he decided to confess without looking at the painter ever again. He truly feared his gaze. Imagine, the artist had made such an expression that in his mind, the low-born’s gaze could only get colder and more resentful.
Remember what I wrote in the beginning. In certain scenes, a panel should have appeared but didn’t. Observe that we don’t have any similar picture during the sex marathon. The noble closes his eyes
, when he kisses the commoner. Why? Here, he is only looking for his own satisfaction. He feels frustrated and wants to fulfil his own wish and desires. Then later he only looks at him through the mirror for a while but he is more focused on the painter’s reactions. The main lead wants the sex partner to accept his homosexuality and him. After that, the rich protagonist is more interested to feel ecstasy without paying attention to the painter’s facial expression. That’s also the reason why the noble doesn’t notice the artist’s poor health condition. Therefore the absence of such a picture during the sex marathon outlines the protagonist’s selfishness. Only after realizing that the low-born is sick, he changes his attitude and gives him a tender kiss with water.
Yet here Yoon Seungho is not starring at the painter’s gaze, he is rather focused on his reaction.
But the absence of Yoon Seungho’s gaze directed at the painter’s doesn’t only occur during the marathon sex but also during the renewal of their wedding night. Here, pay attention to the way the lord kisses the painter. He always closes his eyes.
It is because he still fears his gaze and has already resigned that he will never receive such tender expressions. But most importantly is that when they both climax, the lord is not forcing the artist to look at him, contrary to chapter 21
. He is just whispering to him
, while the painter is looking on the other side.
Therefore the noble doesn’t witness what is happening in front of his eyes. Note the contrast between this night and their first night. Here, the noble grasps the painter’s chin in order to force him to look at him and to recognize his true identity. He is apologizing, yet deep down he was voicing his wish. He desired the painter to recognize and accept him. On the other hand, in chapter 58, he makes love to the artist, without looking at his facial expressions or gaze at any moment.
His head is never above the commoner’s, never facing his eyes. Therefore I conclude that Yoon Seungho has already given up on his dream and hope. In his mind, he will never be loved the way he wanted before and all this because of that terrible night where the painter looked at him so shocked and distant. For him, this night is like a dream, an illusion caused by his illness. 
Therefore I believe that in the next chapter, this picture
will stand in opposition to the one in chapter 22.
The gaze will be cold again, he won’t say a word. There’s no doubt that the moment he realizes what truly happened, he will become so infuriated that he will retaliate. Yet this time, the victims of his anger won’t the domestics in his mansion, but the nobles. And if I am wrong, so be it, however I explain why I came to this conclusion.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Painter Of The Night: Past, present and future – part 5
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.
In the last part, I’ll examine father Yoon and his relationship to time. I have to admit that there are more speculations as we have barely seen him so far, yet all of them are based on observations. First, we still don’t know his first name. Secondly, he has been mostly presented through the testimonies of characters until now:
- Baek Na-Kyum in chapter 1
by his father” [missing part], - Kim in chapter 35
, - Yoon Seung-Won
and Yoon Seungho in chapter 37
, - an older servant in chapter 37



- this time, through a memory from the main lead in chapter 55
- the physician in chapter 57


Yet, he is only seen in one chapter directly, the episode 44.

This signifies that we have never heard his voice and seen his true face as it was always through the gaze and words from others. That’s why we have almost the impression to be dealing with a ghost. Moreover, their description is rather uncomplete and doesn’t necessarily reflect the whole truth, as they don’t possess all the information. Yet the readers have one advantage compared to the fictive persons. They see father Yoon through the drawings so that we can see his gestures and get more knowledge about him. The panels represent reality and past that’s why I’ll study them more closely.
However, because of his indirect introduction, I believe to recognize a certain pattern. Since he is mostly introduced through others and everything revolves around the past, I am connecting him to the past. First, he is the reason why Yoon Seungho suffered so much to develop a trauma and had nightmares. Nonetheless, I sense that his cruel behavior towards his eldest son is related to the past as well. First, we know for sure that Yoon Seungho’s grandfather was an official
and he must have had a high position because Jihwa described that the Yoons were declining and he was referring to the father. If there is a downfall, it signifies that the Yoons had quite a high position. Striking is that the main lead is not mentioning here his father at all who was also working for the government according to the testimony of the commoner.
Therefore we need to ask ourselves why Yoon Seungho is not mentioning it. The first deductions would be to say that he is no longer acknowledging his father or it is related to the purge which he wants to hide too. Since father Yoon was forced to withdraw from his post, just before the purge occurred, there’s no ambiguity that father Yoon is related to the plot. Yet, despite all these reasons, I feel that there’s more to it. I detect that father Yoon’s post could have been different from the one his father had, something not worth mentioning it. This would explain why his first name was never mentioned and his post is not described. He never made himself known as a good official, his name never got noticed. Imagine, father Yoon doesn’t get the high position he thought he deserved and feels betrayed. Because of his father’s power and reputation, he could have felt entitled to get the same high position like his relative. Because of his hurt pride, he resented the king (or other officials). And now, you can imagine how I perceive the father. I believe that he is a combination of Jihwa and Jung In-Hun. Jihwa was obsessed with the past and vented his anger towards others through his hands. Note that father Yoon is also using his hands to express his negative thoughts or feelings.
In chapter 44, his hand is not only shaking due to anger. He is clenching his fist exposing a certain brutality. If the son had been there, the former would have used violence against him, Yoon Seungho was indeed provoking him. And this negative judgement about father Yoon is confirmed much later, in chapter 57.
Here, he grasps his son’s neck and squeezes it so much that he leaves marks on Seungho’s neck. Furthermore, the young boy’s face is covered with bruises. Besides, Byeonduck added the sound of the grasping indicating the speed and force father Yoon employed on his son’s neck. This was never a tender gesture, it exposed frustration and resent. Since he is using his hands in the same way than Jihwa’s and he is connected to the past through the reports made by the character, I believe that he is associated to the past. However, unlike the naive red-haired noble who is wishing to go back to the past, where he was living carefree and had a good relationship with Yoon Seungho, I think that father Yoon has a different judgement about the past. He actually resents the past. He felt humiliated or hurt, then he needed to get revenge.
So let’s return our attention to my first assumption. Let’s envision, father Yoon felt humiliated because he hadn’t received the official post he was eyeing. Due to the past, he couldn’t overlook this incident and his resent started growing so much that he started plotting. At the same time, he imagined that he was entitled and destined to achieve greatness that’s why he could only resent his eldest son.
In this panel I see a proof of his jealousy because Yoon Seungho’s good reputation is introduced with his so-called illness simultaneously. Note that his sickness is just reported by the father, yet the doctor has never been able to diagnose it. For me, there is no doubt that father Yoon used the son’s illness in order to diminish his good reputation. He didn’t want to get overshadowed by his own son. Imagine his frustration, based to my theory, not only he had not received the position he desired and requested but even Seungho’s notoriety was surpassing his own. Let’s not forget that khaki is the color of dragon’s eye hence I concluded that the father was judging himself as a dragon, while he was not in reality.
And since I expressed the idea that father Yoon must have this idea that he was destined to achieve greatness, then he is very similar to Jung In-Hun. Why do I think so? First, if you look at his chamber,
, you’ll notice the presence of books on the shelves which reminded me of Jung In-Hun. [In case you don’t know, in psychology it is recognized that the way you decorate your house, it reveals your personality.] Remember that we often see Jung In-Hun surrounded by books. The latter even follow him to his bed. Observe that the books are piled up and are put next to decorations revealing that they are actually used as decorations. It was, as if father Yoon wanted show off his education by displaying his collection of books. Since there are a lot of decorations, it also indicates his need to expose a certain wealth. In other words, I judge him as arrogant and superficial as well. Finally, the way he puts the books and decorations in display exposes his controlling nature. The display of the shelves gives us the impression that there is a certain order.
But since he is very similar to Jung In-Hun, then this means that he is unable to have a great overview of the situation and to perceive people’s true nature. Furthermore, this signifies too that he is blind to his own shortcomings and his hypocrisy, not recognizing that he used sodomy and prostitution, although he hated it. Just like the scholar, he was betraying his own narrow-minded principles. Because of his lack of discernment, he misjudged Jihwa and Seungho’s personalities and had the impression, they were sick, either too nice towards commoners or were homosexuals.
It is definitely possible that this is related to tears. The father disliked seeing tears in the children, a sign of weakness and femininity in his mind. Another clue for this theory is Yoon Seungho’s behavior towards the scholar. He realized the teacher’s true nature immediately and could fool him so well. From my perspective, the main lead recognizes Jung In-Hun’s true character because he had already met such a character before, it was his father.
That’s why he said such words towards Jung In-hun in the woods. He knew that his father was thinking like that, felt great satisfaction to humiliate him. Furthermore, this would explain why Yoon Seungho was always reminded of the past, when Baek Na-Kyum was rejecting him.
Imagine, the lover would choose the despicable “father” over him. One might argue that the person he recognized in Jung In-Hun could be lord Song. However, it is not possible, as there is no fear and he is definitely not afraid of his father. Seung-Won might use his father’s name in order to ask his brother to reconcile with their father, but Yoon Seungho doesn’t change his mind at all. He burns the letter, sends a ruined painting to his father, mocking him as he knows how he hates sodomy. He is treating the scholar the same way than father Yoon. He has no respect for both of them and looks down on them. He is now strong enough to stand up against his father.
And since he is very similar to Jung In-Hun, I come to the following conclusion, he is a terrible judge of characters. My theory is the following: father Yoon believed in lord Song and relied on him a lot as the latter was always stroking his ego, while the latter planned to use father Yoon in order to climb the social ladders. Lord Song could have come from low nobility but had great ambitions. After betraying him, the father was forced to use his son to escape the purge and instead of blaming the right person, he actually resented his son. He had failed him in his eyes.
That’s why I believe that this scene
will play a huge part in the future. First, not only Seungho refuses to support them but also he got more wealth and power than him. Father Yoon must disdain his eldest son terribly. He got “punished”, while in his mind his son succeeded. Since this delusional man full of arrogance didn’t learn his lesson from his mistakes, his disdain and hatred for Yoon Seungho must have reached a new peak the moment he received the damaged painting. Imagine how he must have felt, this was such an affront coming from his eldest son. Therefore I envision, father Yoon decides to work against his son again. He has been betrayed and humiliated by his son, then the latter must pay for this. First, he will hear that Seungho is sponsoring a low noble, hence in his mind, Jung In-Hun must be so good that he will plan to snatch him away from his rival, unaware that he got played by the scholar and Yoon Seungho. The former teacher will be abandoned by the protagonist sooner or latter and once approached by father Yoon, Jung In-Hun will decide to use the father, unaware what awaits him in reality. As you can imagine, I am already anticipating the real downfall of father Yoon. He never realized that he was the author of his own misery, he destroyed his own future by hurting his brilliant son due to his own blindness and arrogance. Since we never got to see father Yoon’s face, I am more and more convinced that he wears glasses, just like the teacher. And if this turns out to be true, then my interpretation of the glasses will be confirmed. As you can detect, I believe, we will have a repetition of the past, the father attempting to get revenge but failing miserably, too obsessed with the past and his so-called destiny.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Painter Of The Night: “BADUM, BADUM” and its implications
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.
Like I explained it in the first essay about the alternative universe of Painter Of The Night, the first special episode helped me to understand much better the original version. In this essay, I’ll explain my newly gained knowledge.
Everything starts with the following panel.
Here, the noble Baek Na-Kyum is running away. His heart is making the sound “thump, thump” and his face is red. Why? He is leaving the market place in a hurry because his eyes saw Yoon Seungho for the first time. However, on the surface it looks like he is just avoiding an embarrassing situation. His escape seems to be caused by his shame. He has been caught in the act saying something nasty, since the commoner smirked to him after hearing his bad comment.
However, remember that first impressions can be deceiving. For me, the moment their eyes meet,
the innocent man’s faces blushes. Note that his reddening is actually stronger than when he was looking at his crush, his servant Jung In-Hun.
Then you have to imagine that his heart starts racing, a sign that he is physically attracted to the infamous low-born but we don’t see it yet. In my opinion, his reactions are not just the results of shame
, when the manhwalovers witness the aristocrat’s heartbeat and his blush while running. One might argue, this is related to his speed, as he rushes to his home. However, during the night in his bed, Baek Na-Kyum’s heart is still beating strongly, displaying excitement, just like the reddening has not vanished yet.
He showed a similar reaction, when he was dealing with the merchant. He was enthusiastic too, imagining that he would get paid a lot.
However, the sound of the heartbeat (“thump”) diverges in the escape scene. The explication is simple. The arousal was masked by the run therefore the “badum/badum” turned into a “thump”, yet we have to imagine, it was already present. Once back home, the racing of his heart and his blush never stopped. Even lying down, he is still agitated, aroused and can’t calm down. He can’t forget Seungho’s face, engraved in his memory so that he is able to create a masterpiece.
Consequently, I come to the following interpretation. Baek Na-Kyum’s body reacted immediately to the commoner. He blushed and his heart raced but everything was masked by his external behavior. This overlap explains why the noble won’t be able to distinguish his true feelings but he will link it to embarrassment and shame. Besides, it occurred twice.
Striking is that even the presence of blood running down from his nose didn’t repel the aristocrat.
The latter overlooked the red cheek as well because he was so fascinated by Yoon Seungho’s sex appeal, especially his gaze. In other words, the bruises couldn’t diminish his charisma so that the noble’s sexuality was awakened in a second. His heart made noises which only Baek Na-Kyum could hear. Surprised by his own reactions which he can not control, he runs away to hide his emotions. He has no idea why his heart is racing like that which scares him. He has never been confronted with such a situation before.
And this scene made me realize that in the original, Baek Na-Kyum’s heartbeat was only witnessed in chapter 34 and 35 and not before.
In this image, the manhwaworms hear the painter’s heartbeat for the first time which is actually triggered by Yoon Seungho’s return. He is so surprised by his physical reaction that he is left speechless first.
Observe that the racing of his heart is accompanied with his blushing face, just like in the alternative universe. The painter gets agitated as he can not control his body and his heart. He would like to hide this from the noble and gives a good excuse for his departure. The lord needs his bed hence he has to return to his own room. As you can see, the desertion in chapter 34 resembles a lot to the one in the first episode from the alternative universe. Since he can’t control the racing of his heart, he wonders about its cause and nature. 
He associates it to fear because he has always trembled in front of his lord before, while his noble version will always link it to embarrassment. Yet he notices the difference as he feels some butterflies inside. As the scene at the market resembles a lot to the chapter 34 and the special episode introduces their first meeting, it gives us another dimension of their true relationship. The painter was attracted to him right away and through Yoon Seungho, his real sexual appetite was awakened. But why don’t we witness the racing of the painter’s heart before, when it was clear that he was attracted to him physically before? He had wet dreams, erections and felt the need to masturbate before.
In my opinion, it is related to the coercive persuasion and it consequences. Due to the abuse, Baek Na-Kyum’s body had been imprisoned. In other words, he was no longer the owner of his own body. Therefore I see in the return of the heartbeat a proof that the real target of Jung In-Hun’s violence was not truly homosexuality but sexuality in general. He made sure that the painter would no longer feel his body, this explicates why he became a drunk. We could say, he transformed the low-born into a zombie, a living corpse. Since Baek Na-Kyum could no longer feel his body, he needed to cover up the loss and the numbness with alcohol. And now, you understand why Baek Na-Kyum’s love for the low noble was so “pure” and spiritual
, his mind was the only thing he could use, since he had been deprived of his own body and as such his heart. Hence when Byeonduck created this wonderful panel, she gave us a clue that the first day dream represented the first step of liberation of Baek Na-Kyum’s body.
Nevertheless, this only happened during a dream, hence his body was only superficially liberated. The biggest hindrance was his mind because it was also poisoned by the scholar’s doctrines. The wet dreams were relevant as it announced the return of his senses. There, all his senses were triggered and awakened. Slowly, he was regaining control of his own body. And now imagine what the painter must have experienced that he decided to give up on his own body.
Thanks to his encounter with Yoon Seungho, his imprisoned body got released. His senses are gradually returning to life which explains why he masturbates for the first time in chapter 9.
And the racing of his heart marks the pivotal moment in Baek Na-Kyum’s life.
He is finally the owner of his own body and he can decide whom he can love. That’s why he can be disappointed in his teacher (chapter 35) and even lie to him in chapter 38.
The reason for the return of his heartbeat is the sex marathon where he was confronted with his own image.
There, he saw his own pleasure and felt it as well. However, the shock was too big hence he fell ill. With this new revelation it becomes understandable why Yoon Seungho met so much resistance in the end. He had to fight on two different levels: liberate the painter’s body and mind. It was not just about denial of his own sexual orientation, but sex in general. At the end of the first season, he had succeeded to free the painter’s body but that was it. The second “confrontation” in chapters 48/49 marked the last battle
where the painter’s mind is finally freed.
This was the new version of the sex marathon. Observe the parallels and divergences between the two pictures:
Their positions are similar, the lord’s gaze is also directed towards the artist, yet there are two huge contrasts. First, in the second picture the readers witness Seungho’s gaze full of agony. Moreover, he can not truly see the artist’s facial expressions as there is no mirror during this night. So he is imagining that he is afflicting pain on the artist and feels remorse but he senses that this is necessary, whereas it is not true like the painting exposes it later.
The noble pleasured the painter and his refusals were just the last wall of defense in his mind.
And now his confession in chapter 41 gets a new dimension. For the first time, he mentions his heart in front of the lord and voices his fear.
Note that he is associating fear to his heart pounding illustrating that he hasn’t understood its signification. This was actually a love confession but the master couldn’t perceive it as such because it started with a reproach: “you scare me so much”. And now, if you look at the confession in chapter 49 where he speaks again about his heart
, the connection between fear and heart racing has finally disappeared. On the other hand, the artist reduces it to a physical attraction. When their eye meet, he gets aroused, exactly like I had described with the scene from the alternative universe. This evolution exposes his lack of discernment. He is still unable to interpret the heartbeat “badum, badum” correctly. Therefore I don’t think, we can say that Baek Na-Kyum was denying his own feelings. It is just that he never understood what his heart pounding meant. And the source for his misinterpretation is the feelings he had for his teacher, just like in the alternative universe.
Observe that this expression is only connected to his eye and not his body. Jung In-Hun is handsome but that’s it. He doesn’t feel the need to hug or touch him. He is already content with buying him glasses.
This reminds me of Courtly love (Minne in German and Amour courtois in French) from European Middle Age. It is a literary conception of love that emphasized nobility and chivalry. Medieval literature is filled with examples of knights setting out on adventures and performing various deeds or services for ladies because of their “courtly love”. There is no sex, their act of loving is purely mental. As you can imagine, this was just fiction, just like in our manhwa. In both versions, Jung In-Hun is in fact associated to dream and not reality. The cat is the one that brings back the noble Baek Na-Kyum to reality.
That’s why his courtly love for his learned sir is doomed to failure. It is just an illusion, a fiction because it doesn’t reflect people’s true personality. The characters in Medieval literature were portrayed as heroes, dedicated to their lady and people, while knights in reality were often the opposite. They were just soldiers and killed women and orphans for their lord. And notice that once the pure main lead recalls all the good deeds Yoon Seungho did for him, the heart pounding resurfaces accompanied with the blushing.
He is still denying the lord’s feelings but since there was a confession, the painter will be able to connect his heart racing to love. The good deeds have nothing to do with sex, yet his body is still reacting therefore you can comprehend why in the next chapter 60
, he screams Yoon Seungho’s name begging him to save him. The kidnapping was just the trigger for him to recognize that his lord had already entered his mind and his heart.
The tragedy is that Yoon Seungho has still no idea why the painter rejected him so many times before. He took it personally, whereas in reality the true cause was the brainwashing and trauma left by the abuse. Honestly, I am looking forward for the moment the powerful protagonist realizes the true nature of the relationship between the vicious teacher and his student. And the special chapter from the alternative universe revealed the importance of the painter’s heart beat in the original. If he had not been brainwashed and abused, the artist would have fallen immediately for the noble. However, his affection for him has always been destined not to come to realization right away. The character is always doomed to confuse love with fear or shame. On the other hand, it illustrates the complexity to discern emotions, when it comes to true love.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Painter Of The Night: Fate or liberty? 🗽
This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33 That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.
I was really pleasantly surprised with the alternative universe of Painter Of The night, because it wasn’t at all what I had been expecting. I had imagined that Byeonduck would give us a modern version due to her drawing with Yoon Seungho wearing a mask. So what is her alternative universe? It’s the same period, but the social status have been switched. On the left, I selected pictures from the original story and on the right from the alternative universe.






Now, it is Yoon Seungho and Jung In-Hun’s turn to be commoners, while Baek Na-Kyum is now the only son of a noble family which means the pressure and expectations from his family must be high. By switching the positions but at the same time, keeping certain elements from the original story (f. ex. Baek Na-Kyum likes painting sodomy), Byeonduck gives us clues about the original story as well, which were never directly revealed. Consequently, this version made me realize two things. First, thanks to this episode, I gained more insight about the original story which I’ll explain in another essay. Secondly, Byeonduck gives us a new dimension of the relationship between Yoon Seungho and Baek Na-Kyum. The author is showing us that not only Baek Na-Kyum and Yoon Seungho are fated to fall in love with each other but also their love story is supposed to be an example that love knows no boundaries. Their affection is the result of nature and society will never been able to stop it. This special episode reinforces her original message: homosexuality is no disease but a natural phenomenon. Besides, by switching their roles, the author outlines that the social gap between them will always be present in their relationship no matter where they live but they will overlook it in the end. Their affection is strongly intertwined to scandal, yet it won’t matter. By using the idea of destiny, the special episode with the alternative universe reveal that their choices are not free in reality, their decisions are all influenced by their disposition and environment. While reading the special episode, I couldn’t help myself connecting this story to philosophy and different currents in philosophy: Free will versus Determinism.
This is the second time that I am referring to philosophy. In another analysis, I had explained that Yoon Seungho was a libertine and represented the ideas from Enlightenment where reason and critical thinking were in the center of this movement. In other words, the powerful protagonist belongs to the libertarians (“free will”). By guiding the low-born, he liberated him from traditions and social norms. That’s why at the end, the painter makes his own decisions. He chooses to remain by his lord’s side despite the terrible night in chapter 53 and the first brutal confession. That’s why we could say that the original version advocates free will, whereas the special episode represents the other current: determinism, where there exists no real freedom. Interesting is that the moment the first episode from the alternative episode was released, many fans realized the similarities between the original Painter Of The Night and the alternative one. Let me give you an example:
(Chapter 55) As you can observe, the drawings and the character’s actions resemble each other a lot. It was as if the protagonists had no choice but to turn their heads. It was already planned and designed, just like Oedipus who couldn’t escape his fate. By drawing similar panels, Byeonduck gives us the impression that their destiny and actions have already been predetermined. Baek Na-Kyum will run away or blush or have a crush on Jung In-Hun. They have to accept and embrace their destiny which will be full of pain but also full of love and tenderness. And now, let’s take a closer look at the special episode.
Here, fate appears in two forms. They first meet by coincidence 
and secondly thanks to the intervention of the cat. Coincidence is a proof that they have no control over their life and love life. It was, as if the invisible hand of gods had decided to have them met. Yet, determinism doesn’t use the idea of gods or of an exterior force leading the characters to encounter each other. If you pay attention to the way they meet, you’ll realize that their decisions, influenced by their liking and living conditions, were the reasons why they met in the street. The noble Baek Na-Kyum was strolling in that part of the town because he wanted to sell his erotic paintings. So because of his hidden hobby, he is led to go to a part of the town where commoners live. In other words, the protagonist enters Yoon Seungho’s world. On the other hand, Yoon Seungho as a low-born catches Baek Na-Kyum’s attention due to his unusual attitude. He shows neither remorse nor fear in front of the angry aristocrat. He is very defiant. That’s love at first sight. However, this is true love as sexuality is immediately included, while his affection towards Jung In-Hun was more related to the innocent and pure love of a child. Striking is that Yoon Seungho is exposed for his scandalous relationship with the son of a noble family showing that he doesn’t care about social status and distinction between nobility and commoner. It is also the same for the painter who sells his erotic paintings in order to buy glasses for his servant.
This shows that right from the start, Baek Na-Kyum has not truly internalized the hierarchical society and it is the same with the strong-willed commoner. They might not belong to the same social class but their mentality is in reality similar. Besides, they have both a strong libido and a certain sexual fantasy. Yoon Seungho is willing to have sex anywhere (f. ex. in the woodshed)
and after meeting the impressive and attractive seme, Baek Na-Kyum becomes so inspired that he creates a threesome.
The painting could be seen as another evidence that the painter had to create such a work. There’s no real free will in the end. However, the idea of a threesome indicates that the innocent noble has indeed a kinky side which was triggered the moment he met Yoon Seungho’s eyes. And now, it explains why Yoon Seungho was destined to meet Baek Na-Kyum outside his mansion in the original manhwa.
He had to meet him at the tavern because it was the commoner’s world and since the noble was interested in the painter, he couldn’t just send for him. The latter could refuse but in his presence, Yoon Seungho imagined that the artist would never dare to reject the offer.
However, unlike the seme who doesn’t fear the rumors about his reputation, the noble prefers hiding his true thoughts hence he repeats exactly what his crush says about homosexuals.
In other words, Baek Na-Kyum seems to have a predisposition to follow social norms, although in his heart, he doesn’t acknowledge societal hierarchy. He lives in his own bubble in my opinion. That’s why I come to the conclusion that Baek Na-Kyum’s inner conflicts will always represent one of their problems in the evolution of their love story. The noble will suffer pressure from his family and his servant Jung In-Hun who will betray him, making the main lead discover what love truly is. But because of their affinities, they were destined to be together.
This determinism is also visible with the appearance of the cat.
Due to his love for cats, the noble is led to a woodshed where he witnesses Yoon Seungho having sex with someone else. Note that the cat is the reason why he feels pleasure for the first time
and why he gets caught in the end. If the cat had not appeared, then he would have never discovered the sexual intercourse. If he had never liked cats, he wouldn’t have played with him.
Furthermore, he was strolling through the district where commoners live as he was on his way to sell his new painting. His so-called choices could only lead him to the place where the attractive seme was. This was no real coincidence again. Now, why a cat?
In my opinion, the cat with the herb symbolizes nature which stands in opposition to society and its social norms. That’s why nature leads the protagonist to awake his sexuality and discover his sexual attraction for the seme. While in the original version, we had a fight between unconscious (dream) versus conscious (reality), we have a fight between nature versus society which is actually the same. Freud called the unconscious (“Es”) which is strongly linked to naturality. Baek Na-Kyum’s fight will be to accept that he has always been attracted to men and he has fallen in love with Yoon Seungho due to his charisma. By interacting more with him, he will discover that they share many affinities in the end. Like I demonstrated above, their mindset is quite similar. Furthermore, this new version confirms my interpretation: the seme will be or is Baek Na-Kyum’s real muse. And since it is their destiny to be together, then the commoner will come up with a thread again. Due to the painting and the tools he left behind
, Yoon Seungho will be able to discover Baek Na-Kyum’s identity and the latter will be blackmailed. Notice that the merchant knows his true identity.
The painter will have to work for Yoon Seungho, yet the reason will diverge. The commoner has already set his eyes on the artist, since he hasn’t really forgotten him.
He remembers his face (“your eyes off”) and his words (“dirty buggery”). Their attraction was mutual and he needs to create a reason. As a conclusion, the introduction of the alternative universe makes us realize the dimension of determinism which is strongly linked to Nature (sex, cat). Baek Na-Kyum’s choice will be to acknowledge that his love for the seme is stronger than social norms, so that we can say, even if there exists determinism, there’s a certain liberty. Yet it is much more limited than it looks like as our decisions are influenced by our environment, experiences and past.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Painter Of The Night: Past, present and future – part 4 (second version)
This is where you can read the manhwa. https://www.lezhin.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.
In the other parts, I concluded that Jihwa and Seungho were more persons of the past. Nonetheless due to the painter they were forced to change and live more in the present. On the other hand, Min was linked to the present, however because of his fateful meeting with the artist, he was also forced to focus on the future. The cause for his transformation was his desire towards the artist kept growing. He wanted to taste him but couldn’t as Seungho represented the biggest hindrance. Then I saw Nameless and valet Kim as persons personifying the future since both were strategists and made plans for the future (forcing the separation first, later bringing them together, forcing Jihwa to face reality and no longer live in an illusion) for the main characters. However, there were two figures left: the scholar and father Yoon. In this essay, I will examine Jung In-Hun and his relationship to time, just like I did with the other characters.
Jung In-Hun is a teacher who comes from low nobility hence he possesses no connection and wealth. Because of his actual poor situation, he keeps dreaming of his future
With these two pictures, it becomes obvious that he is imagining a time where he will live like the rich protagonist. Therefore the first impression would be to judge him as a person symbolizing the future. However, if you pay attention to his words, you’ll notice that he is speaking in the present (“can count”, “has”, “do not have”)
The enumeration doesn’t just expose his greed and envy but also outlines his strong connection to the present because he also employs two senses, the touching and the sight. This reinforces the impression he is somehow living in the moment. This scene is really important as it shows that the present plays a huge role in his life. I come to the first observation that this is his source of inspiration, the present leads him to dream of a future where he will be different. Envy, jealousy and resent are his generators, strongly intertwined with the present.
Furthermore, if you observe his interactions with others, you’ll note that Jung In-Hun keeps utilizing the present for the most part of the time. I chose first the following panels.
(chapter 6)
(chapter 10)
(chapter 29) Therefore for me, Jung In-Hun is a person of present. And now here is the next question. What do these pictures have in common, excluding the present as tense? What caught my attention is though present is the utilized tense, he is actually referring to the past (“are still not painting”= didn’t paint /”does such things ” = didn’t do) or to the future (“are destined” = will be). The best example for this would be this panel.
Notice that he is already thinking about the future, planning to use the painter, yet he speaks in the present. Strangely is that after realizing the importance of Baek Na-Kyum, he chooses not to bid farewell to his former student. Any normal person would recognize that he needs to treat the painter better from now on but no, he does nothing like that. Because of the contradiction between the different parts of time, I sense a confusion between past, future and present. My first explication is the following. In the scholar’s mind, his future is a certitude, that’s his fate. He is destined to have what Yoon Seungho has. Therefore, we could say, the present represents not only his strong motivation but also his future. In his eyes, his fate is to become rich and powerful. Thereby this is not astonishing that he talks to Yoon Seungho and Baek Na-Kyum about fate, path and destiny.
Simultaneously, we could say that he is not really living in the moment, as past and future are confused with the present. This explicates why he thinks about the future, while talking in the present.
The irony is that he was tricked by his favorite tense, the present. If the manhwaworms read again the episode 7, they will realize that time played a huge part in the deception. We shouldn’t forget that the learned sir needs to learn in order to pass the second examination. And like I had demonstrated it before, he only realized his mistake, the moment he discovered the existence of the deal (chapter 19). In his mind, he had already achieved his goal, the moment the main lead proposed to sponsor him. He didn’t recognize that the lord’s words were just an empty promise as he needed to pass first the civil service examination. He didn’t see the trap as the lord was talking in the present, for him a sign of destiny and certitude.
First, the main lead implies that the scholar is an intelligent person (“are” is omitted), while he thinks the opposite. Secondly, he fools the arrogant man that he will succeed with the examination since he employs “when” and not “if”. The condition is disguised behind the idiom “only that”. As you can detect, Yoon Seungho is selling these as facts, while it was not the case. Due to the tense, Jung In-Hun was manipulated and fell into his own trap. He thought, he was deceiving the protagonist, whereas it was the opposite and his major mistake was the employed tense: present. Moreover, note that in chapter 18, he only used two senses: the sight and the touching. But he isn’t employing his mind or better said, his brain, limiting his own skills. That’s why he couldn’t perceive the deception. Since he is so certain about his path, he doesn’t really have to utilize his knowledge and his brain. This explicates why he is a lazy person in the end and couldn’t become successful before.
Since I outlined how the doubled-faced character would confuse present, past and future as his fate is already determined, this is not surprising that he is neglecting the present in reality. His present is different from reality, it stands under the sign of destiny. It is his path to climb the social ladders. Therefore he resents his real present, confronting him with reality. He has nothing. Now, you understand why I associate the learned sir to the present, meaning that he has some similarities with the low-born and the vicious lord Min.
However, as you can envision, he is different from the painter and Black Heart for different reasons. In my eyes, he personifies the negative version of Min. While the latter is a carpe diem person who enjoys the present
by taking advantages of others for his own pleasure but is still envious of the main lead, the scholar is never satisfied with his current situation and resents everyone: Yoon Seungho, Baek Na-Kyum and the commoners. His real present is a constant reminder that he has not fulfilled his destiny. He doesn’t desire to be associated to commoners, although his clothes in the beginning don’t diverge so much from peasants’, while he wishes to resemble to the powerful main lead due to his wealth. As a conclusion, Baek Na-Kyum is the only satisfied with the present due to his modesty and selflessness. He has been accustomed to his social status. Due to his past, he knows what he should expect from the world which outlines that even if he was hurt in the past, he could move on but learnt from his bad experiences. Therefore he stands in opposition to Jung In-Hun who seems to have no real past and has not learnt from his mistakes at all. Now, you understand why. Since it is his destiny to have a high position, he doesn’t need to focus on the past or on the real present. That’s why he never reflects about his own actions and words, hurting the low-born, without noticing it.
For him, fate will always play in his favor, yet by acting like that, he reveals gradually his true colors.
Striking is that his common past with the low-born is just briefly mentioned. He only taught him to read and write. Then he adds this:
It was, as if they had no special relationship, except that the artist only caught his attention as he would follow him around and drew something immoral and vulgar. By reading it for the first time, the manhwalovers have the impression that the purpose of the scholar’s words is to undervalue Baek Na-Kyum, while emphasizing his own good personality. The artist is someone with an unappropriated behavior, whereas he was a man of virtue, a role model, because he punished the low-born for his erotic paintings.
Yet, we could interpret the idiom “once” differently. He has already forgotten what he really inflicted on the low-born. His coercive persuasion meant nothing to him hence he is overlooking the impact of his actions. In other words, in his mind he just did it once. And if you pay attention to the teacher’s behavior, it really appears that he has no real recollection of the physical abuse he did on the painter. When he meets him again, he acts as if nothing happened before.
One might argue, he is just faking everything which is also correct hence this could be no real sign that he truly forgot the coercive persuasion. However, if you observe his behavior during the first season, you’ll realize that this is actually Jung In-Hun’s MO. In chapter 40, he almost killed the painter with his words
, yet the next morning he still believes that he can still use him as his pawn… just like he did in the past. It was always like that, each time Jung In-Hun hurt the artist, the latter would still remain faithful. In chapter 29, he already betrayed which the artist sensed but once they arrived the mansion, the artist was still willing to sacrifice his own life in order to protect his admired sir from the infuriated and jealous lord. Let’s not forget that he never changed his attitude towards him after the coercive persuasion therefore the teacher wrote a bad poem. It becomes clear that he took the commoner for granted. In my perspective, this reasoning is simple. Since the low-born’s destiny is to be a prostitute after stopping painting, the ow noble imagined that he didn’t need him in the first place. However, now it diverges. In chapter 44, it becomes obvious that the scholar plans to use him as a prostitute. It was as if in his eyes, their paths were now connected. The low born will help him to achieve his goal. And this explicates why he doesn’t say goodbye to the artist. He can’t imagine that the low-born might change his mind and feelings. He is so sure of his “affection” and his power over him. He believes in his destiny hence he doesn’t need to pay attention to the commoner, the latter will play his role.
Nonetheless, it becomes obvious that because of his strong belief of destiny, Jung In-Hun is ignoring reality and as such present. He is neglecting the fact that Baek Na-Kyum is truly changing. He noticed his lie hence he punished him for his “betrayal”,
unaware that with these exact words, he unveils his true personality. He is in fact the one who backstabbed him first violating his own doctrines.
Another point for my interpretation why Jung In-Hun is strongly connected to the present as he often acts on impulse. Due to his jealousy, he decided to beat the painter forcing him to vow to never paint again. He didn’t want to see how a low-born could become successful, destroying his own dream and belief: the low noble is destined to achieve greatness. By doing so, he didn’t recognize that he condemned himself to remain working as teacher in the end. As Baek Na-Kyum’s guardian
, he could have used his popularity and even claimed to have a right to get his money earned through the paintings but he couldn’t bear the thought, he was living next to someone talented, mirroring his own lacking. Out of resent and jealousy, he abused the painter physically and mentally, that’s one of the reasons why he is describing it as a single event. He acted on impulse, until his anger and resent disappeared. And this attitude never changes. In chapter 10, he persuades the painter to stop painting hoping to get rid of a rival, unaware that he is actually ruining his own career and chances.
Then in chapter 22, he forgets that Yoon Seungho is his sponsor and insults him by describing him as someone with no education, since he has been mocked for his poor talent. To his surprise, Yoon Seungho isn’t hurt by his words, in fact he retaliates right away. He is in no place to criticize his benefactor, especially when he has no real talent.
Observe that the powerful lord is teaching an important lesson to Jung In-Hun, he needs to pay attention to the real present as it can affect his immediate future implying that his fate and big dream are nothing sure. By using a conditional sentence, he demonstrates that present is no guarantee for certainty as it is bound to a condition. I perceive this scene as another evidence that he lives in the present, an unreal one nourished by his vanity and his arrogance, which is an illusion in reality. The cause for this is that he believes in destiny. Each time, he gets disappointed and hurt, he unleashes his fury and the painter becomes his target. Notice how furious and violent he was after the hunt.
He hurt the painter, until he regained his senses and recognized that he needed to treat the low-born differently, since he was relying on his relationship to his sponsor.
In other words, not only he is neglecting the present due to his belief of destiny but he is so caught up with the present that he is always damaging his own career. Like my follower @SpringDayYum noticed it correctly, in reality Baek Na-Kyum symbolized his future, although he is also a person of the present. The latter was determined to do anything for him, willing to break his vow for his learned sir’s sake. As a conclusion, he never realized that he could have achieved his destiny by supporting the painter in his work. He would have gotten recognition for becoming his guardian and chose not, proving that fate and destiny are never determined. Choices are relevant and influence life.
Another interesting aspect is that he is not paying attention to his own changes. He starts acting like a pimp and even a prostitute, betraying his own doctrines, too consumed by his dream and his desire to secure his future. That’s why I have already predicted, he will become a prostitute [for furthermore information, read the following essay: https://bebebisous33analyses.wordpress.com/2020/07/08/painter-of-the-night-jung-in-hun-a-new-version-of-bel-ami/ ] Nevertheless he will only recognize it too late, especially the moment he faces the painter and the latter realizes how his learned sir secured his position.
Note that when the double-faced man meets the powerful protagonist for the first time, he describes his job as a diversion showing that his occupation is to pass time
which reminds us of “carpe diem” philosophy, living in the moment. Nonetheless there is a huge contrast as it is not linked to joy of life and pleasure. He only has negative emotions. That’s why for me, his mind isn’t truly directed towards the future. In fact, he is always jealous of others, especially of the artist and Yoon Seungho. Another evidence that he is a person of the present can be perceived in the scholar’s following words:
He has been waiting indicating that he has been actually doing nothing at all. In order to be judged as a person focused on the future, the teacher should have made plans for his career but he doesn’t. He is so different from Kim and Nameless. Both anticipate reactions and try to move things in the right direction, they have strategies, like giving an aphrodisiac for example or postponing the murder. Therefore I would say that the scholar is trapped in the present, while he dreams of his destiny, which is in reality an uncertain future. His dissatisfaction is the reason why he would like to change his situation but he has no idea how. He lives in an illusion that the world owns him something and at some point, it will happen.
Therefore we could say that he is not a man of foresight which is symbolized by his glasses. Like my reader @nonoboy-oops pointed out to me, “the glasses symbolizes his being unable to look as far into the future due to his selfish ways”. Since he is short-sighted, it signifies that he can only see what is really close to him. That’s the reason why he uses people and tricks that are near him, another indicator that he is strongly linked to the present. Finally, I interpret his bad sight as another evidence that he is lacking knowledge. He has a very bad overview about his real situation hence he makes bad decisions. He is unable to perceive people’s true nature as well. He doubts Seungho’s intelligence and education, although he could have sensed it, after discovering the existence of the deal. He is not capable to recognize Baek Na-Kyum’s talent too and jeopardized his own ascension by forcing the painter to drop painting. And his blindness is actually reflected in the panel above. The manhwalovers can only see one eye. Back then, I interpreted that he was hiding his true thoughts. As you can note, this single image offers so many possibilities. It shows his underhandedness and hypocrisy, simultaneously his lack of foresight and knowledge as he can’t see everything. It was as if he had lost one eye and perceives the world in only one dimension. Two eyes are necessary in order to judge distance which is a metaphor for predicting the future. As a conclusion, this image illustrates his lack of foresight and “blindness”.
Since he resents the present so much as it doesn’t correspond to the image he has in his mind, he seems to be similar to the red-haired aristocrat, who hates his actual situation wishing to go back to the past and projecting it as a possible future. Jung In-Hun has also developed a sort of escapist attitude. However, there is a huge difference between them. Jung In-Hun is neglecting the past that’s why we only have one flashback of the teacher in the first season. He is not learning from his mistakes, allows his emotions to cloud his judgement and jeopardize his future career. There is no doubt that the moment Jung In-hun returns to the mansion asking for more support, the painter will ignore his plea. He has definitely cut ties with his learned sir. As for Yoon Seungho, the moment he knows his affection is returned, he will drop the former teacher for good. He doesn’t need him any longer as he was just a tool to force the artist to work for him. Baek Na-Kyum will create beautiful erotic paintings, inspired by their mutual love. Like my follower @Denize59542085 suggested it, we have to expect that the artist will create a new big picture like in chapter 2. However, this time the noble will look directly at his lover, there won’t be any distance between them and the artist will gaze at his loved one tenderly, a gaze full of warmth, admiration and love proving to his lord that he is worthy to be loved.
Because of all the changes, Jung In-Hun will be forced to find a new sponsor and since he caught attention by getting help from Yoon Seungho
, I am quite sure that father Yoon will imagine that he can approach the former teacher. And that’s how he will meet his true destiny: becoming a prostitute. I know, these are just predictions from my part but there were already clues about this evolution, like I explained in the other essay mentioned above. The scholar won’t escape his fate in my opinion, his punishment for all the wrongdoings he inflicted on Baek Na-Kyum.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Painter Of The Night: “It cannot be”
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.
This sentence is expressed by Baek Na-Kyum and Jihwa because both have problems to accept their new situation: the powerful noble Yoon Seungho is in love with the painter, a low-born. Consequently he rejected his former sex partner and childhood friend Jihwa.
However, this expression describes my own feelings as well after imagining the evolution of this story. What will happen next? Will Jihwa choose the death sentence or send him to Min or send him back to Yoon Seungho? Since I have already observed that Byeonduck likes using elements and even chapters from the first season with divergences, I started thinking about the elements and episodes she could use. Then I came up with a certain idea but it sounded too beautiful to be true: „It cannot be“. That’s why in this essay, I’ll present my own continuation of the story with the hope, it will come true but well aware that this is more wishful thinking. Yet, like I pointed out above, this fantasy is inspired by the first season hence I’ll explain my reasoning for this continuation of the story, a dream.
As you know, I’ve always feared for Kim’s life and imagined his death as in my perspective, it would not only bring the two protagonists closer than before but also force to plan for the future. However due to the chapter 60, I have a different impression now. Not I am giving up on the idea, yet in my opinion, it won’t happen soon. For me, it is obvious that the red-haired noble won’t give the order to have the painter killed. First, Jihwa’s remorse and anxieties were the reasons why Nameless detected a certain sensibility in his client. If he decided to taint his hands, the assassin would no longer perceive him differently from all the nobles he met asking him for a crime. That’s why there’s only one outcome: the aristocrat will change his mind. Yet this is not enough because not killing him doesn’t signify necessarily that the low-born will be released. He could be sent to Min so that Jihwa would put the blame on Min and wouldn’t assume any responsibility while Nameless is trying to teach him the opposite. Therefore I don’t believe that the former „thief“ would accept such a decision. Furthermore, his lesson was to show him the reality of murder, the gravity of the crime. When he proposed another solution for the commoner, the criminal also outlined the terrible consequences of the sentence.
Handicapped, Baek Na-Kyum would lose his life in the end, unable to earn a living. Jihwa might get away with it, yet he will be burdened by the knowledge that he is responsible for the painter’s misery. The crime doesn’t represent the end of his suffering but the beginning, as he will be the only one who knows what happened to the artist. The knowledge as such will be a heavy price to pay. As you can detect, for me Nameless is trying to change his client’s mind without imposing his opinion. The commoner might become his hands but Jihwa’s mind will be tainted and indirectly his hands.
That was the message of his unconscious but Jihwa chose to ignore it. Fortunately, the criminal voiced exactly what Jihwa’s righteous mind was expressing. Hence I come to the deduction that Nameless has already planned the best outcome for Jihwa. That’s why I came up with the following ideas. Either he will send away the artist, making him disappear. This explicates why he wanted the painter to be abducted outside the mansion. Since Nameless has already killed Deok-Jae, he could use his body
while faking Baek Na-Kyum’s death (“no one can recognize him”). So far, nobody has noticed Deok-Jae’s disappearance and his death is quite recent so his body must still be well preserved due to the winter. Another possibility is that Nameless has already decided to send back the painter to Yoon Seungho and will frame Deok-Jae for the crime. Many servants have already noticed his jealousy and the latter disappeared so suddenly. The second idea is actually my favorite because it fits Nameless’ good heart and sensibility. He must have realized the painter’s modesty and honesty. It can not be, it is too beautiful to be true. A criminal is helping our OTP!!
We have to imagine that the criminal had more than one month to observe Yoon Seungho and Baek Na-Kyum’s life. He must have witnessed the commoner’s escape (chapter 46)
but chose not to intervene as he was sure that Jihwa felt uncomfortable with the idea. Moreover, he must have heard about the gossips in town how the noble suddenly changed for the better.
He was a reformed man desiring to settle down which couldn’t escape the former convict’s notice. Besides, Nameless must have noticed that valet Kim would even buy materials for Baek Na-Kyum.
Note that this is not the first time, the butler is doing it again for the painter (“Again?”). And if the ex-thief didn’t observe him personally, I am quite sure that Deok-Jae must have told him how the valet would take care of the low-born, just like he disclosed him the situation in chapter 51. Consequently the criminal seems to be the second person who had the best overview about the whole situation, especially since he is not directly involved, like Jihwa, Deok-Jae or Baek Na-Kyum or Seungho. A noble is deeply in love with a low-born and doesn’t care about social norms, something quite unusual.
But let’s go back to the vicious servant who played the spy and traitor. For me, there’s no doubt that he must have complained to the assassin about valet Kim as well. Why do I think so? First, we witnessed Deok-Jae’s resent towards the butler in chapter 45, he even insulted him.
Why is there this animosity in this scene when it was not like that in chapter 29?
Observe that Deok-Jae speaks in Kim’s name in the end, since he utilizes the personal pronoun “we”. Furthermore, the manhwalovers can sense that Kim has literally the vicious servant’s back, since he stands behind him. I would even add, I detect Kim’s confidence in the vicious servant, when the valet even entrusts the bought paintbrushes and ink stone to Deok-Jae. He even calls him “my good fellow”
, a sign of respect and trust. He doesn’t get upset, when Seok-Jae is rather cold and angry, indicating a certain patience and tolerance. He even puts his hand on the servant’s shoulder, a gesture illustrating his reliance and closeness towards Deok-Jae.
For me, they are quite close because when in chapter 47 Kim gets mad at him and yells that he should clean up the mess, it looks like Deok-Jae got away pretty easily, although he insulted his master.
Their close relationship is in my opinion one of the reasons why Deok-Jae thought, he could ruin the rice, imagining that he wouldn’t get caught and if the painter would ever complain, then he would have Kim’s support. Notice that when he is confronted with the wrongdoing, the mean domestic even justifies his action by wailing to Kim,
although the latter is his superior. He shows no fear and respect that’s why I believe that Deok-Jae had always seen in the loyal butler a backer. And now, you might wonder why I write about Deok-Jae and Kim’s relationship, when the main topic of this essay is how the story will evolve. This is quite simple: Nameless explained to Jihwa how he was able to kidnap the painter without getting caught. He faked an escape.
And remember, we had two escapes in the first season: chapter 4 and chapter 29. While the first one corresponds to the departure in chapter 46, the second is definitely a new version of chapter 29, where the artist ran away as he feared for his life and his teacher’s. Both disappearances are linked to danger and life. And what happened back then?
In my opinion, Kim allowed the artist to run away because he had seen how his lord was behaving. He raped the poor low-born, would even grasp his sword to eliminate a low noble but fortunately he was stopped. Remember how I pointed out that the white-beared servant had been sent by the butler in order to save Jung In-Hun’s life. Consequently I deduct that with the valet’s complicity, Deok-Jae let the commoner vanish. They were reunited by one goal: Baek Na-Kyum should leave the mansion, yet their motivation diverged. The domestic with the green jacket saw in the artist a rival, while the loyal assistant didn’t see their relationship with a good eye due to the love triangle. Kim thought, he was acting for both’s best interests. Yoon Seungho would forget Baek Na-Kyum, he had acted like that because the commoner had refused his advances. This explains why Deok-Jae utilizes the personal pronoun “we”, when Yoon Seungho asked him about their disappearance. In the domestics’ mind, the aristocrat would also join the artist in the departure after hearing the artist’s words. Kim never anticipated his lord’s reaction. That’s why he begged for the staff in the end as he felt somehow responsible for the beating.
Kim never envisioned that the surrogate father would bring the artist back to the mansion, sealing the painter’s life to Seungho’s mansion. From that moment, the butler realized that it was too late, he got aware of his lord’s feelings for the painter. He was present, when the protagonist flew towards the painter.
His feet were barely touching the ground. And that’s the moment when Deok-Jae started resenting valet Kim. He had been the one who received the worst beating. On the other hand, the butler must have felt guilty towards Deok-Jae hence he wanted to show his trust and a certain closeness to his accomplice “my good fellow”.
As you can imagine, I am expecting a new version of chapters 29 and 30, the return of Baek Na-Kyum’s mansion. Notice the parallels between the chapter 30 and 60. In both scenes, Seungho is standing on the terrace looking outside
. Yet, there are three huge differences. First, Kim is not by his side. Secondly, Seungho’s back is no longer turned to the main door but facing the exterior. This is quite important as it unveils the change of his attitude. Now, he is more facing the world as his eyes are no longer directed towards his servants and the interior. Only the return of Baek Na-Kyum made turn his head to the door, a metaphor for the world. Third, the author doesn’t let us witness Seungho’s gaze, unlike in chapter 30.
If you compare both scenes, you’ll note a huge contrast. There’s no longer any fury and rage. Even if the cover has been removed quickly, exposing a certain nervousness, he is not agitated like in the past. That’s why I had the impression that he looks more resigned as the panel reminds me of his mouth in chapter 35, where he was on the verge of giving up.
Because of this association, I have the feeling that this time, the noble won’t throw any tantrum and vent his rage on his staff. I came to this idea that this is his turn to believe that this magical night with the painter was just an illusion due to his fever.
Let’s not forget that this time, he didn’t clean the painter’s body like he did in the past.
Furthermore he hasn’t yet viewed the last painting the low-born made which showed that the painter never saw their night in chapter 49 as something terrible. His mouth and facial expression revealed pleasure. Therefore I imagine that he won’t be looking for the painter right away. But what he fails to recognize is that there was a witness of their magical night, valet Kim who put their shoes next to each other.
That’s why I believe that valet Kim will be the one bringing back the painter, assuming his new role as surrogate father for Baek Na-Kyum therefore we would have a new version of chapter 29.
Besides, the readers shouldn’t forget that Kim took a similar role in the past. In chapter 24, Baek Na-Kyum was kind of abducted by Jung In-Hun and Kim was the one who discovered his disappearance and fetched him.
The other reason why I believe that the gentle and caring domestic will become the painter’s rescuer is that he always visits his lord’s room during the night and he must have seen the painter’s missing shoes. In my opinion, Nameless could anticipate Kim’s actions and envisioned that he would look for the missing painter. Imagine his reaction, when he discovers the painter. The latter is in a poor state and is reminded of the night of the rape where he had to fetch the hurt low-born.
He will console the artist, hug him and bring him back to his lord as quickly as possible. And once they arrive at the mansion, Baek Na-Kyum will be the one running into the lord’s arms.
We would have a new version of chapter 30, yet the role would be switched. The artist would be the running one so that he would reveal to the staff that he is no longer staying there because he has been forced but he is also in love with Yoon Seungho. Imagine the aristocrat’s reaction. His dream would become true, while he had thought that this would never happen. However, even if Nameless is using Deok-Jae’s body, they need another accomplice because the painter witnessed the discussion. That’s why I have already imagined that the criminal might frame Min and could use the incident with the painter in order to punish this terrible noble. For me, there’s no doubt that the criminal resents the nobility in general. First, he has two tattoos indicating his past and it is clear that he must have suffered some injustice as well. So why not use Yoon Seungho’s hand to get revenge. First, I think, the incident with the nobles’ expulsion must have reached his ears too. Besides, Min is not someone secretive. Deok-Jae would be framed as someone working for Min and we would have a purge, just like in the first season.
And with the painter’s return, Yoon Seungho’s love for his painter would become official, creating a scandal and forcing father Yoon to meet his son as he can’t accept that Seungho is living with a low-born, an affront for him. At the same time, the staff would no longer look down on their master because they judge the painter differently now. So what do you think about this continuation? Does it sound too beautiful to be true? Will you also say “I cannot be”?
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
Protected: Painter Of The Night: Fire and water – part 2 (second version)
Painter Of The Night: Fire and water – part 1
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 read the analysis entitled “Starry Night versus Cloudy Night”, you are already aware of the character I’ll study in this essay. It’s about the lord Lee Jihwa. Thanks to the terrible but terrific episode 60, I could finally comprehend the protagonist in his entity.
He is very similar to the painter therefore in one of my former analyses I described him as Baek Na-Kyum’s noble version and this perception is even confirmed in chapter 60.
The noble says the exact same words than the artist, like my follower @Denize59542085 truly noticed.
One might say that the repetition of the same expression is just random. However, if the manhwalovers contextualize the situation where these words are spoken, they will realize that both are facing the same situation. They are trying to deny the truth as their mind and heart can not accept the reality: Yoon Seungho is in love with a commoner, the painter Baek Na-Kyum. But one might appeal that this is nothing new as I had explained it before. However, if my readers recall the picture I chose to validate Jihwa’s similar attitude in the past, they will note that back then he expressed it differently.
He was utilizing the imperfect due to the conditional sentence, a mixture of past and future linked to hope and dream. As you can observe, the use of tense has now switched.
He is utilizing the present because he is now confronted with reality and as such with the present, personified by the painter. The presence of the hickey on Baek Na-Kyum’s neck is an irrefutable evidence of Yoon Seungho’s love for the artist.
Like I had explained before, the artist is a person living in the present hence he embodies this time. On the other hand it is not the same with the noble. So the reason behind the artist’s doubts are different. It’s like a dream has come true, while for the red-haired aristocrat, it was, as if his dream and hope had been destroyed. And notice that right after seeing the hickey, he gets so shocked that he falls back on his butt and even moves away from the low-born.
The shock was so huge that he has no energy left in his legs. Moreover, it was, as if the second character was trying to run away from reality, his eyes couldn’t take the blow. But his nightmare doesn’t stop here, he has to hear the painter’ scream for his lover.
As you can sense, Jihwa’s senses are all confronted with reality. His own eyes saw the hickey, his own ears detected the intimacy between his ex-lover and the low-born. He can’t escape from the truth which he has been attempting so hard to avoid all this time. Now, his eyes and his ears are hurting him as they are revealing him the reality.
Because of this specific scene, I suddenly came to the following realization, the reason why Jihwa has been wearing hats with veil. I have to admit that back then, I had a different explanation, a more logical one but when did he wear them? Do you remember? Each time, it was related to a wrongdoing: destroying a painting
(10), visiting Seungho’s mansion without an invitation
as he wanted to investigate the painter (17), hiring an assassin
(43), showing the killer the target (50)
and visiting the criminal in order to remind him of his task.
(51). The rational answer would be to say that he was wearing it in order to hide his identity. But in reality, there is a diverse motivation. The hat with the veil is used in order to cover his eyes and ears. While wearing such an item, he can avoid to be confronted with his crimes. His eyes can’t really see, just like his ears can’t really hear. This explains why he never questioned himself and his actions which I always criticized. Since he was veiling his eyes and ears, he was not facing the present and could escape from any responsibility. I would even add that this item reinforced his negative disposition. He would justify his actions with the past (f. ex. taking revenge on the behalf of the noble with the mole and accusing Seungho to be the cause for his evil actions
) and would rejoice if they worked out.
Observe that he only hears about the straw mat beating through his spy but he never witnesses the actual event. Hence he never sees the outcome of his decisions and actions. It would have been the same in chapter 17, if Seungho hadn’t intervened.
And this leads me to the next observation: the lord has never been using his own eyes and ears in the end. He uses his servants
, the spy he hired
, Min
and rumors

. Concerning the second panel, it indicates that Jihwa has truly no idea about Seungho’s real power and wealth and is more relying on hearsay. Here, Jihwa is confusing the elder master’s situation with Seungho’s. The latter might have a bad reputation but his power is far from declining. This explicates why his brother contacted the protagonist in the end, he desired to get his support. The last picture is relevant as it outlines why Jihwa would always perceive Seungho as a man consumed by lust. He never witnessed how the lord would sleep with other men as he was never present. He could never judge with his own eyes that Seungho was actually fighting with other nobles rather than enjoying having sex with them. Fooling around implies pleasure which was never the case. In fact, with this statement it becomes clear why Seungho always had sex with Jihwa separately. Jihwa made sure to never be confronted with other aristocrats, preferring avoiding reality. It didn’t help him in the long term because he always heard Seungho’s conquests through others and this could only reinforce his prejudice. In other words, these private sessions could only increase the gap between them. Jihwa could never understand his childhood friend as he was influenced what people were saying because he never saw it himself. That’s why he got hurt in the end, he only got his knowledge by hearsay.
Besides, by getting info through other people exposes that the character is somehow relying on others but at the same time, he is not really connected to them as his attention is more focused on the hearsay than the counterpart’s life. Furthermore, note that getting info through channels is always delivered later. What is present becomes the past once it reaches the recipient. [They didn’t have modern media back then] Now, you can comprehend why Jihwa was never living in the present. He was trapped in the past and the future in the end. Therefore I conclude that his attitude illustrates pure escapism. And now the readers can imagine why Jihwa sent the fake letter to his childhood friend and hurt him. Sure, he had no other way to contact him as the protagonist had cut ties with him entirely and could only rely on gossips. The manhwaphiles should remember that the letter arrives after the lord had started living in debauchery again for one week. I have the impression that due to this change, Jihwa had the hope that Baek Na-Kyum had finally lost his master’s favors. By reminding Seungho of their common past, Jihwa had the illusion that this past would be good enough to get together again. But the most important is that after sending the letter, Jihwa was never confronted with Seungho’s pain and reaction as he was not present. He could never see it with his own eyes therefore he could justify his action and blame the recipient of the letter.
What caught my attention is a certain expression Jihwa keeps using: “I know you”.
This idiom underlines that Jihwa is just using knowledge but neither his heart nor his eyes nor ears to understand him. He might know things but he can’t feel as he is himself deprived of his own senses. He’s deaf and blind in reality, very similar to the artist’s attitude in season 2 from chapter 45 to 49. In my opinion, Jihwa’s behavior reminds me of this picture with Baek Na-Kyum:
A man without his head as his mind is full of prejudices and he is not even using his own eyes and ears. That’s why his so-called love for Seungho is shallow as he shows no true compassion. One might refute this argument by saying that the noble saw the lord’s nightmares. However, if you pay attention to this scene,
you’ll notice that they are related to the past and not to the present. Jihwa was never a witness, when Seungho was directly wounded emotionally and physically. He could only observe the consequences of his suffering (the trauma), yet he knew nothing about their origins, only a name: lord Song. His knowledge is very limited, yet it gave him a certain feeling of superiority, explaining why Jihwa always considered himself as special. First, he knew certain things about his past as they were childhood friends. Secondly they had sex alone and finally Seungho always forgave Jihwa’s wrongdoings.
The reason for this is quite simple: both were living in the past, yet it changed the moment Baek Na-Kyum entered the two figures’ life, the person symbolizing the present. Let’s not forget that the protagonist’s tumultuous relationship with his friend got affected the moment the low-born created his first work. The sex at the pavilion affected not only Seungho but also Jihwa. While the former had come back to life without noticing it and saw a different image about himself, the other had the impression that he had been able to stimulate his friend for the first time and this gave him hope that he was closer to his dream.
From that moment, his life could never be the same. Nonetheless, the readers couldn’t truly realize the huge impact, even myself. I mean, I had detected a certain change, yet I had not entirely grasped the whole signification, the importance of Jihwa’s eyes. Since I have come to the deduction that the lord was deaf and blind before, I consider that the red-haired character’s gaze was actually dead in the past. Consequently the noble never relied on his own eyes. No wonder if Seungho couldn’t fall in love with his friend as he could never see himself reflected in Jihwa’s eyes. This explicates why the first drawing shows Jihwa with closed eyes. At the pavilion, Jihwa discovered through his body Seungho’s desires first (the kiss, then licking his ear). Pay attention that he only looks at his friend’s phallus the moment he feels it on his butt while proposing to help his friend to get aroused. So the change in Seungho’s behavior provoked a transformation in Jihwa either. He had witnessed himself the metamorphosis with his own eyes but all this was triggered by the physical interaction first. Strictly speaking, Jihwa has always used his own body to compensate the loss of his eyes and ears. Through his body he had the impression, he wasn’t entirely lifeless. Due to the sex at the pavilion, the aristocrat decided to behave differently and use more his own eyes.
That’s why when the red-haired protagonist visited his friend in chapter 5, he felt confident and started using more his own eyes for the first time. But pay attention to the way he uses them.
Only now I comprehend why the lord could see the painter’s virginity. Let’s not forget that in this scene, Jihwa touches Baek Na-Kyum’s body. So he is not relying entirely on his gaze. Like I mentioned above, the noble lived more through his body and his hand helps him to sense the painter’s virginity. Let’s not forget that the character has learnt himself through his own body to detect sexual experiences. From my perspective, he sensed through his hand the painter’s shyness, that’s how he discovered his secret. He acted as if he was a man with a bad sight. But he was not only blind before, he was also deaf therefore in the same chapter, he doesn’t hear Seungho’s annoyance about his bad reflection, he is a man consumed by lust.
In my opinion, Jihwa lived through his other senses (taste and touch) to feel alive. And that’s one of the reasons why he drinks so much in the end.
Happy or not, he drinks. Strangely is that in chapter 8, Jihwa has just bought an erotic picture but he looks at it without taking any pleasure. And this is important as it shows that his eyes are not sensitive, they are starting to come back to life. That’s why he can not be deeply moved by Baek Na-Kyum’s paintings in reality. For me, it becomes clear that due to the appearance of Baek Na-Kyum in Jihwa’s life, the noble is forced more and more to use his own eyes and ears, especially after hearing from his friend about the locked gaze between Yoon Seungho and the low-born. Hence we see many zooms on his gaze in chapter 13, 14 and 15 underlining that he is forced to use them. He has to witness with his own eyes the attraction between the two main leads and attempts to change it.
Since he had internalized this escapist attitude, he had to wear a hat with a veil for his wrongdoings. With this new interpretation, it becomes more comprehensible why Jihwa wasn’t bothered that his friend had cut his topknot, when he got upset. Because he was blind, he could never see his hair cut with his own eyes, grasp the signification of the gesture.
He had to touch it literally to realize the consequence of his wrongdoing, he had to sense it with his hand.
Since I have already described the character’s gaze as dead in the past, the appearance of the mirror in chapter 3 gets a new dimension:
His eyes are absent and observe, he is touching his body in order to detect the marks left by the main lead. And the manhwaphiles should remember that one of the mirror’s purpose is to help the beholder to perceive his identity. Unlike his friend, he is not avoiding the mirror but since he is blind, he can’t perceive himself and needs his hands to see. And it is quite similar in chapter 41:
here he’s holding himself the big spoon that’s how he can see his own reflection the water. I hope, you can understand why I can not examine each scene where Jihwa’s eyes play a huge role. However, with this new discovery, I would like to incite the manhwalovers to read the manhwa from the start and pay attention to Jihwa’s eyes and ears. But because he has been deaf and blind for so long figuratively speaking, it is not surprising that Jihwa is a selfish person. He is trapped in his own world where his interactions with others are restricted and his world is linked to the past. That’s why he can’t live in the present. Who would like to be reminded of his disabilities?
And now it is time to explain the significance of Jihwa’s tears. They are very different from the painter’s. The latter symbolize purity and innocence, while in the noble’s case they signalize the return of his sight. In other words, he is also coming back to life. Water is a symbol for life because without water there is no existence. One might refute this idea because we witness Jihwa’s tears before the painter’s introduction in their life.
Yet, the beholder will recognize that the noble’s tears are barely visible. The tears don’t flow down the cheeks like in the latest chapter. From my point of view, this scene is very important as it explains Jihwa’s obsession with his friend in the end. In his presence, he was able to feel something, it moved his heart to the point to have some tears in his eyes. But he didn’t see with his own eyes, Jihwa detected it through his body and especially his hands. Note how Seungho is holding his hand on his friend’s shoulder and he is looking down. Both have no eye contact.
Yet, this was enough for the red-haired aristocrat. Due to Seungho’s behavior, Jihwa sensed that he was feeling alive because of the appearance of tears. Yet it only appeared when his friend was in pain. That’s why Jihwa had to hurt Seungho in the end to feel existent. If the latter was wounded, he would feel a certain compassion and he would have the impression that his eyes and ears were not dead. A really vicious circle. But for me, there’s another explanation why Jihwa has become obsessed with his childhood friend. From my point of view, he must have witnessed something terrible, it is definitely possible that it is linked to guilt. In his unconscious, he feels responsible for his friend’s misery. But there is more to it in my opinion. I believe that because he had lost his soul (the gaze dead), Jihwa desired to live through his friend’s life. He hoped to see himself in his friend’s gaze so that he would have the impression to exist. In his mind and heart, Seungho’s love for him would help him to recover his sight. He was dependent on him in the end,
But let’s return our attention to Jihwa’s tears. The quantity of tears continues increasing illustrating more and more that Jihwa is changing. However, the return of his tears signifies that he is forced to live more and more in the present. And now if you pay attention to his weeping, you’ll notice that he often closes his eyes
or uses his hand to cover his tears
(observe the position of his hands here) or hide his tears with the veil of the hat
or bury his head so that the tears are not visible
These gestures represent his resistance to accept reality. He is not able to face reality and the present hence he urges Nameless to kill the painter very soon. It was as if he tried to hurry the time so that the murder would happen very quickly.
And since I have described Jihwa who refuses to use his own eyes, the manhwalovers can grasp how poitnless Seungho’s warning was in the end.
How is it possible for a blind person to see a line?
Finally, it also explains why Seungho’s words were rejected or even forgotten by the childhood friend.
He couldn’t believe his own ears that the main lead would never be together with him. That’s why in the cabin, he is still in denial, until the criminal confronts him with the reality. Striking is that once the noble complains about his incompetence,
he shows him the kidnapped painter.
which leaves him speechless. Striking is that right after, the noble hides away from the commoner. First, he turns his back to Nameless and even hides his eyes behind his hands. Another sign that he is still avoiding the present and the terrible situation.
Then he confronts the commoner
and observe that he is talking about the past again, using it as an argument. He criticizes Nameless for not doing his job illustrating that he is not taking any responsibility. But what the aristocrat fails to recognize is that Nameless is acting as the mirror, the mirror of fact, reality and truth!! His good heart made him detect the aristocrat’s guilty conscience hence he first postponed the murder hoping that Jihwa would change his mind. However, it didn’t work hence he reminded him of the severity of the crime
but the latter didn’t really budge, despite a certain hesitation. Each time, he urged the commoner to hurry up and finish it. I believe that’s how Nameless recognized that Jihwa would never see any responsibility after the crime despite a certain guilt. He sensed that Jihwa would become just like all the nobles who order a murder and then frame and blame low-borns for their wrongdoings. And this escapist attitude concerning the hit was present right from the start. What caught my attention is that in chapter 43, when Min incites Jihwa to kill the low-born, the upset noble is not using the personal pronoun “I” but “we”.
He is including the others with his question. It was as if he wanted them to share the responsibility. Sure, Min was the one who brought it up, yet Jihwa could have refused. This question also unveils a certain hesitation. In my opinion, he’s hoping that they will stop him. However nothing happens like that. Min shows no remorse. My point is that even if Jihwa was reluctant to commit the murder, he was the one who made the decision in the end and hired Nameless. Through their different meetings, the commoner recognized the presence of guilt but simultaneously the lack of sense of responsibility. Hence Jihwa is forced to look at his victim
and his misdeeds by Nameless.
But just like the mirror in Snow White, the mirror is also speaking and even letting him hear that he is no longer innocent as he played a key role in the target’s capture. He is no longer innocent, even if he had no idea about it.
The irony here is that Nameless is using the same strategy than Jihwa but in the opposite sense. Ignorance is no blessing in the end. Even if he was unaware, he has become part of the plan, a sort of accomplice. Therefore he is already accountable for the future event. As you can see, the commoner uses the exact two senses which Jihwa refused to use in the end: sight and hearing. But he even provoked the aristocrat by describing what his friend had been doing after he left him
leading him to verify his saying. As you can observe, Nameless is manipulating him for his own good. We all know that he wasn’t truly blind and deaf but since he was hurt, he chose to act as if he was blind and deaf, turning him into a selfish and lonely person. But Nameless doesn’t stop here with the confrontation.
In order to force him to make a decision rationally, Jihwa needs to hear the scream from the victim
, to sense the victim’s fear and tears in order to grasp the gravity of his decision. He needs to hear from the commoner what could happen to the target.
His descriptions are so vivid that Jihwa can vizualize the consequences of his decision. He can no longer escape from this. That’s why the door in his back is so small.
He has already committed so many wrongdoings but he still has an option to escape. He can drop the project. Let’s not forget that he would have killed the painter in affect if Nameless hadn’t stopped him. The criminal wants him to make a decision with a clear mind, similar to the painter who stepped out to clear his mind and face the reality. He is not allowing his client to act on his emotions. He recognized that Jihwa was again using the future, attempting to escape from the present and reality again.
That’s why Jihwa’s eyes and ears play a huge part in chapter 60. Only here, I was able to recognize Jihwa’s real blindness and deafness, both related to his past and explaining why he was so obsessed with his friend. As a conclusion, the lord Lee Jihwa was not really living. Yet this was not so perceptible like with the main protagonist for his smiles and clothes gave a different impression. In other words, he is a mixture of the two protagonists: the painter due to his tears and his naivety and the powerful master Yoon Seungho due to his attitude towards life, his refusal to live in the present, escaping from reality.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.







