Painter Of The Night: The ruined paintings 🖼️

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

It would be great if you could make some donations/sponsoring:  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.

Anyone asked how many paintings were ruined in the manhwa would reply that there exist only two of them. The first was exposed in chapter 2 . Yoon Seungho discovered the ripped picture, while the painter was sleeping. As for the second, which Lee Jihwa had ruined by pouring water on it, the painter had made the discovery just before the host‘s arrival. In both cases, the lord‘s portrait was damaged. His body was either partially destroyed or blurred. (Chapter 11)

1. The symbolism of the ruined pictures

Then it occurred to me that the ruined paintings could have a symbolic meaning. They would reflect the main lead‘s mental health. This was not his true self. In verity, he was a broken man, hence his body had vanished. According to me, in the beginning of the story, he was suffering from erectile dysfunction. (chapter 2) Striking is that in the first painting, the main lead couldn’t see his back or his naked butt. For me, this was announcing that Yoon Seungho would never be an uke again. Furthermore, the lord‘s gaze was covered by a slap of paper, reminding me of Baek Na-Kyum’s white headband. Thus I view the piece of paper on the lord’s head and eye as a sign of his mental servitude. The hidden gaze was showing that his mind was somehow trapped. Because the eyes are the mirror of the soul, Yoon Seungho needed to discover his own gaze in order to recognize not only his own attraction, but also the existence of his own identity. (chapter 3) The painting was showing him that he was not a plaything! That‘s the reason why he felt aroused afterwards. For the first time, he had his own urges and desires. In other words, the ruined painting was part of the lord’s therapy, it was pushing him to look at his actual mental state. The damaged picture was inciting him to change so that his broken body would recover. At the same time, since it was a picture, it helped him to feel safe. Therefore it is no coincidence that the lord had no huge flashback in season 1! In chapter 38, he still could control his panic attack, for he had the painter by his side. It was necessary for him to develop strength and confidence before facing his biggest tormentor: lord Song, the pedophile. And now, you comprehend why Yoon Seungho met father Lee before Yoon Chang-Hyeon. This was part of his exposure therapy. This indicates how the noble views the patriarchs responsible for his own suffering. However, I doubt that the young noble was aware of the true degree of father Lee’s guilt.

And now, you are wondering what could be the meaning of the second ruined picture. (chapter 44) My interpretation is the following. The author was revealing the presence of brainwashing!! This is no coincidence that the picture was ruined by water. (chapter 12) Furthermore, don’t forget that Yoon Seungho had been perceived as a sodomite because of Lee Jihwa in the past. This signifies that the red-haired master was undoing his wrong. It was, as if he was now purifying the main lead. At the same time, the water had another symbolic function: to bring to the surface Yoon Seungho’s traumas. This explicates why he got so mad in the study. For the first time, he was allowed to voice his emotions. On the other hand, not only Yoon Seungho’s portrait got ruined, but also Min and his friend. (chapter 44) They were all acting the same: obsessed with lust. This shows that the protagonist was not the only one who had been badly influenced. Yet there exists a huge difference between our beloved aristocrat and the two other masters. Black Heart and his companion were losing their identity, for the beholder couldn’t see their faces. That way, Baek Na-Kyum could project himself into the uke on the right side. In other words, the picture was predicting the future evolution. Min was not realizing that he was slowly vanishing, he was becoming more and more the male kisaeng for the protagonist. Hence it is not surprising that the young lord organized a huge sex party in his domain. (chapter 33) We could say that his house was slowly transformed into a brothel. Besides, I would like the readers to keep in their mind the Joker’s statement in the inn which seems to confirm this impression: (chapter 92). Yet, like mentioned in one my previous analyses, I discovered that Min was suffering from an erectile dysfunction. This explicates why he couldn’t have sex with the painter. And now, pay attention to the painting once again. The latter was showing that The Joker had actually taken Yoon Seungho’s position in the end. He was now reduced to be a bottom. Thus it occurred to me that Heena tried to run away from the kisaeng house, because she was rejecting sex. According to me, she had planned to stay in Black Heart’s mansion. She definitely hoped that she would escape prostitution thanks to her brother, but the opposite could actually happen, especially the moment Black Heart’s death is revealed. Someone could take over his domain: lord Song for example.😦

But let’s return our attention to the second ruined image. By pouring water on the nobles in the picture, Lee Jihwa never recognized the signification of his gesture. He was showing the powerlessness of the nobles! We could say that they got cursed to become shadows of themselves. One had sexual issues, while the other became a drug addict. Under this new light, the readers can grasp why afterwards Yoon Seungho had no problem to punch The Joker and to evict his guests in season 2 . (chapter 44) I believe that the ruined painting encouraged him to voice his emotions and thoughts, to act like a lord… because so far, he had been trained to live like a slave, a commoner. In that moment, he felt so powerful that he threatened to kill a scholar and the painter. (chapter 11) He was speaking like the king, the pedophile. His words were actually divulging the brainwashing. And that would be the reflection within the same chapter. What caught my attention is that contrary to the first painting, Yoon Seungho’s gaze was not covered. In fact, this was the only part that looked undamaged. Hence the beholder could still identity him. From my point of view, Byeonduck had two reasons for protecting his eyes. First, the vivid gaze was exposing the slowly recovery from the protagonist. He has now an identity which stands in opposition to the paintings in the publication where you could only see his back, butt and his long braided hair. (chapter 1) In the image from chapter 11, the beholder could sense the noble’s true desires despite the “brainwashing”. He was looking at the painter, the invisible hand. The latter was like a ghost. Secondly, the lord’s gaze was spared in order to confront the father! Yoon Chang-Hyeon had to recognize his son in order to be faced with his own sins!

2. Yoon Chang-Hyeon’s rage

Like I had pointed out in my first essay about the father, the latter was upset, for he was forced to see the consequences of his decisions. The picture was showing his hypocrisy. He was responsible that Yoon Seungho was living in debauchery. Hence it is no coincidence that in this scene, Byeonduck showed us the patriarch’s hand. (chapter 44) Yet the man would never admit that he had been the helping hand of „lord Song“, which stands in opposition to Baek Na-Kyum who was acting as Yoon Seungho’s therapist. Besides, like mentioned above, the artist was the invisible hand, the ghost whom the main lead felt attracted to.

Yoon Chang-Hyeon’s shaking hand exposes his emotions and thoughts concerning the protagonist. He is furious! He is trembling out of anger. However, he had another cause for his trembling!! For the first time, the elder saw his son with a topknot. 😢 Despite everything, his son had been able to become a noble, even a man!! He was no longer living like an animal. His status had improved, while the father had lost his support. This picture showed the reality of the purge. Now, only Yoon Seungho was benefitting from the „exchange of favors“. Moreover, Yoon Seungho could put his prick into a hole!! To sum up, the ruined painting was proving as well that the father had been wrong. That’s the reason why during their last meeting, the father’s reproach had changed. (chapter 87) But let’s not forget that the young noble was turned into a bottom so that the father’s words become like a huge farce. He had been trained not to use his prick and to look like a woman. Hence he was rather slender and had a braid. Yoon Chang-Hyeon had actually contributed to turn his son into a sodomite and the publications from chapter 1 are the evidence of the elders’ crime! (chapter 1) The moment the identity of the braided man is revealed, the beholder can detect their crimes and their hypocrisy. Both patriarchs pushed a minor to have sex with an old bearded man. And don’t forget that there was no marriage, hence the town folks are curious about the main lead’s future bride. This signifies that the sex in the picture can only judged as illegal, as a rape. That’s the reason why I believe that the ruined painting from season 1 served to prepare the father to face cruel reality. It was the first step. What caught my attention is that the patriarch left the room just before the sexual session in the past (chapter 86) and in the present (chapter 87), though in the second case, he approached the throne first. He never remained there, till the session was over. This is important, because it exposes that the father was just assuming that the sex sessions would take place. Yet, in the bedchamber, it didn’t happen, while in the gibang it did take place. However, something could have happened after the sexual lesson. As you can see, the elder made the huge mistake to trust people, to rely too much on impressions. Furthermore, the fact that he leaves the place shows that he has the same habit than Heena. Is it because he fears sex too? And now, you comprehend why the father’s hand was shaking! (chapter 44) He was scared too! He was forced to see sex with his own eyes. For him, sex was just a necessity to get a heir. (chapter 86) Consequently, I deduce that the father will be forced to assist to a sex session full of violence and torture himself, similar to the head-kisaeng’s (chapter 96), yet there won’t be love there. Moreover, he won’t be able to leave the room like before. From my point of view, this confrontation is to corner the elder master Yoon, to pressure him to admit his guilt. In my eyes, he will experience what his son went through: Hell, a nightmare. (chapter 86)

To conclude, the ruined paintings played a huge role in the lord’s suffering. They represented the first step of exposure therapy, and it was the same for the persons responsible for his martyrdom. For the first time, Lee Jihwa had to see a sex orgy with his own eyes. Thus he covered his gaze with the veiled hat. (chapter 12) He was still avoiding reality, until he was cornered to participate in a sex orgy for real, a new version of the past: (chapter 100) The only difference to the past is that this time, the villain and the antagonist couldn’t rape the main character. Hence imagine how Yoon Seungho must have felt, when it happened to him. The painter is going through a milder form of sexual assault. Nevertheless, it was still very violent and bloody. Consequently, it is not surprising that he was brought back to the past, when he saw his lover unconscious and his face was covered in blood: (chapter 102) This represented the high peak of his treatment. After this night, he became stronger than before, thereby he will be able to meet the pedophile. The painter is his source of strength, his pillar. His desire to keep the painter by his side, to protect him is the reason why he is able to overcome his PTSD. He has a reason to encounter the old bearded men and accuse them for their sins.

3. A new ruined painting?

Many manhwaphiles believe that there exist only two damaged paintings, nonetheless this is not correct. It is just they are not obvious, for they didn’t play a huge role in the story so far. So now you are wondering where they are. (chapter 41) The painter’s tears fell on the picture representing his rape. It was, as if they were washing the lord for this sin. But the water didn’t destroy the image totally, because the characters were not turning into ghosts. In reality, the two characters were slowly escaping from their mental prison, recovering slowly from their traumas and issues despite the heartbreaks. But why did it happen then? It is related to Jung In-Hun’s words. The scholar had reproached the painter to enjoy sodomy. (chapter 40) However, the night before, the artist had not truly accepted the lord’s advances. They had not had even sex. He had more kept company to the tormented Yoon Seungho. So the teacher couldn’t refer to this sex session. Secondly the learned sir was not supposed to know about the sex marathon, for the painter had just been allowed to paint erotic pictures. Hence he could only refer to one scene, the one in chapter 25. My avid readers will certainly recall my following interpretation: Jung In-Hun had witnessed the rape, but he had not intervened. This means that he knew that Baek Na-Kyum had rejected the host’s advances. He had not allowed him to touch him. This means that he was lying in the library. Furthermore, the rape had taken place because neither Kim nor Jung In-Hun had not stopped the owner of the mansion. Both had remained in the shadow!! That’s the reason why the protagonist was washed off his sin. The learned sir’s jealousy led him to wound the painter, and the latter suffered so much from this blow that the lord’s violence in the pavilion appeared as nothing compared to the learned sir’s betrayal and abandonment. The learned sir’s words were far more cruel and painful than the coerced sex in the pavilion. And now, we have to question ourselves this. Where did all these pictures go? (chapter 41) Did the butler keep them? Or did he give them to lord Song? Striking is that in these pictures, neither Yoon Seungho nor Baek Na-Kyum have eyes. In fact, they have no visage! This means that the homosexuals can not be identified, unless the tailor is present. He can recognize the persons based on their clothes. Keep in mind that the pictures will serve as an evidence for crimes or reproaches. So a person could use these pictures to push the painter to recall the lord’s actions from season 1. He had raped him, he had forced him to have a sex marathon in the bedchamber which could have killed him etc… (chapter 81) In other words, this can only backfire… in fact, this could push Yoon Seungho to look at the publication from chapter 1 more closely and remember his own past: the face of his tormentor.

As for the fourth damaged image, it was used as an illustration for the first season. Here, it is ripped like in chapter 2. From my point of view, this image is linked to the future. Someone will torn the picture out of rage and jealousy. Since the father didn’t burn or rip it, I have the impression that “lord Song” should be the one who will act like the painter. Why? It is because it looks very similar to this image in the sand: (chapter 1) Two noblemen making love to each other! This represented the artist’s wish and vision. At the same time, the future ruined painting could expose the perpetrator’s mental state: he is either living himself in darkness and broken. And if he pours water on it, this signifies that the couple could “vanish” and turn into a different couple: a real husband and wife, an official marriage, where the painter becomes Yoon Seungho’s official bride. And the painter has the face and the legs of a woman, only the presence of his short hair is revealing his true gender. (chapter 94) Yet, the moment he wears long hair, especially a braid, it will be no longer visible to detect his sex. But no one would remove the clothes of a noblewoman to see her sex, for this would represent a huge crime. As you can envision it, I am expecting a huge prank from our beloved couple to turn the pedophile into ridicule.

But since the story is in going in circle, this signifies that this ruined painting is also linked to the past. From my point of view, two paintings should have been ruined too. And we have an evidence for this: (chapter 16) So far, none of the pictures was splattered with ink. And who had done it in the past? Yoon Seung-Won, Kim or Lee Jihwa? There is no doubt that Yoon Seungho got blamed for it. Besides, which painting was it too? Since all the ruined paintings from season 1 were connected to the protagonist, and each of them were announcing the evolution of the characters, I assume that splattering it with ink represented the downfall of the main lead. He would fall into the pit and end up living in darkness. On the other hand, since we have two damaged pictures, I deduce that in the past, one picture was damaged with ink, and the other was torn. Hence you comprehend why I am expecting the return of ruined paintings, for they play a huge role in the story. They played a role in the lord‘s disgrace and isolation, thus they serve to confront the perpetrators and accomplices with verity. Moreover they help Yoon Seungho and Baek Na-Kyum to get justice for their suffering. They have to recall the past, for the painter was the innocent witness of Yoon Seungho’s suffering. (chapter 1) (chapter 68) They are the proofs of crimes exposing the pedophile’s debauchery. (chapter 1) But the paintings were not the only things destroyed: we have the music box, the letters, the books, but more importantly the talismans: (chapter 99) This was the new version of the ripped paper from chapter 2! This indicates that the talismans couldn’t be effective, they couldn’t protect Min and his friends from resentful spirits.

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Painter Of The Night: The liars 🤥 in front of the mirror of truth 👺 : Lee Jihwa and Yoon Chang-Hyeon (second version)

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

It would be great if you could make some donations/sponsoring:  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.

Announcement: The essays “Sex and passion” and “The puzzle with the paper” have been updated.

I selected these pictures as illustration for this essay for two reasons. On the one hand, the couple was still in denial about their true desires. Both wished to be embraced and loved by the other, yet in this panel they still feared to voice their own wishes. Why? It is because they dreaded disappointment and betrayal due to their painful past experiences. In other words, they were lying to themselves. Therefore it is no coincidence that at the end of season 3, the two protagonists were confronted with separation and real lies! They had waited for a sign from their partner, hence their karma was to wait and lose the right time. (chapter 102) The painter had confessed too late, for the schemers were already pulling the strings in the shadow. To conclude, the main leads’ self-deceptions were connected to love and time. The importance of self-manipulation leads me to the next observation. All the antagonists and villains were liars, because they were also deceiving themselves. They refused to admit their own fears and flaws, therefore they chose to commit a wrongdoing and manipulate others in order to hide their true thoughts. This means that not only the crime was covered up with a deception, but also the manipulation was hidden by another lie. This means that the list of their sins increased. Therefore it is not surprising that the gods chose to confront the liars with the verity, as they kept refusing to admit their sins. Now, it is time to focus on the antagonists and villains’ manipulations and the scenes where they were facing the mirror of truth. However, the readers are probably wondering where the mirror of truth is. The answer is simple. The mirrors of truth are not only the two main figures, but also Kim and Min, though they are their negative reflections. Remember that in Snow White, the item led the evil Queen to her doom, for the latter refused to accept reality. At the same time, the mirror of truth was not entirely honest either, for it never explained the definition of “Beauty”. In other words, it lied by “omission”. I realized that I can not examine all the antagonists and villains in one text, as I am so detail-oriented. Consequently, I selected Lee Jihwa and Yoon Chang-Hyeon first, for both characters’ lies are strongly intertwined.

1. The red-haired master’s sins

The manhwaphiles could witness his first wrongdoing in the study. He had kissed Yoon Seungho without his consent. (chapter 77) The problem is that he had been caught by the butler. Thus the door was open. The door is full of symbolism. It can represent opportunity, but also imprisonment. Simultaneously, the door embodies the passage from one world to another in religion and literature. In the analysis “The window, the door, the air and their signification”, I had explained that in Painter Of The Night, the door embodies the passage between the conscious and the unconscious. This means that when all the villains are confronted with the mirror of truth, they are standing on the doorstep. That’s why the reflection is linked to the open door. The characters are forced to face their own repressed desires and anxieties. Hence I deduce that the room symbolizes memories too, which means that we are dealing with repressed memories. In our first case, since Lee Jihwa was seen in the study, this means that when he got caught, he tried to deny his responsibility in the seduction. That’s how he started being in denial of his wrongdoing. Thus out of fear, he left his friend behind and as such he buried the incident in his unconscious. He tried to forget it. He convinced himself that he had seen the friend’s smile. This was the evidence of his “statement”, yet this was just an illusion. However, before he ran away, he lied to the butler too. He told him that the one who had kissed him had been the main lead. So not only he lied to the valet, but also to himself. That way, he was avoiding to feel guilty. There were two lies, and both were used to covered up his own wrongdoing. But the one who had been smiling, was in reality Lee Jihwa, as he had the impression that his dream had been fulfilled. Thus the author revealed the young master’s blushing, the expression of happiness. (chapter 77) However, since he had been caught by the valet, he was facing the butler’s visage. And what did he see in his facial expressions? Shock and horror!! That’s how Lee Jihwa realized the gravity of his sin and chose to blame his friend. Thus I imagine that he must have blushed again and this time out of shame and embarrassment. It is very possible that in that moment, he must have copied the valet’s facial expressions before leaving Yoon Seungho behind and lying to the butler. Why do I think so? It is because the butler had made such an expression in front of the barn, when he had been caught. (chapter 64) And what did the main lead say? (chapter 64) Since the painter seems to have forgotten it, I deduce that it was the reverse for Lee Jihwa which explains why he felt so guilty in the end. As for the butler, when he had barged in the study, he had committed a wrongdoing himself. He should have asked for the main lead’s permission, but he did not. Consequently, he decided to believe in Lee Jihwa’s deception. One hand washes the other. He was covering up the guest’s sin, while the latter was doing the same thing for the domestic, though I doubt that Lee Jihwa truly realized it. Simultaneously, Kim had the perfect justification to hide the violation of social norms. He had caught the main lead red-handed, hence no one would question his own action. As you already know, I associate the butler to Pilatus, therefore he is connected to the bucket.

And since the childhood friend had been able to avoid punishment by lying and putting the whole blame on his friend, he learned that he could get away by deceiving others and by putting the whole blame on his friend. I would even add that with this incident, he was taught another lesson: Silence and burying the truth. Note that he never came clean, he never exposed the truth to his friend or to the elders. That’s the reason why from that moment on, Lee Jihwa became a hypocrite, but deep down, he felt guilty and ashamed, for he couldn’t outlive his sexual orientation due to the horrified expression. He had to hide his homosexuality in front of others, hence later he had sex in the barn with Yoon Seungho. This explains why the spirits chose to confront Lee Jihwa with the truth on different occasions in season 1.

I could mention the argument between the main lead and the red-haired master. (chapter 13) However, in my eyes, this doesn’t represent the biggest confrontation with the mirror of truth. For me, it is the altercation in episode 17, for it took place in the same place than the aristocrat’s crime. When the red-haired master looked at the picture, he was suspecting that the painter had seduced his friend due to the insinuations by the staff. And his fear reached the peak, when he saw the painter’s reaction: (chapter 17) As you can see, in this episode, the gods were recreating the same situation: a servant had witnessed how the two men “were fooling around” (chapter 16), though this was definitely not the case!! And this is exactly like in the past, Yoon Seungho was totally pure and innocent. And what was Lee Jihwa’s reaction? A slap! (chapter 17) This is what Yoon Seungho had experienced in the past. Yoon Chang-Hyeon had definitely abused him. (chapter 57) Thus the main lead’s cheek was bruised. Then exactly like in the past, Lee Jihwa accused someone else of committing a crime. In the past, it was his friend, in the present it was Baek Na-Kyum. Both were portrayed as immoral seducers. (chapter 17) These words were exposing the verity about the past. Lee Jihwa was admitting in front of the painter that his friend would never act like that, and as such he had not attempted to woo him in the past. Striking is that in front of the painter, the red-haired master was misinterpreting the incident. Why? It is because he was influenced by his past experiences. Since he had lied twice, he jumped to the wrong conclusion that it was the same in the present. And back then, he had even achieved to fool Kim. Therefore he couldn’t allow himself to be fooled like the butler. That’s the reason why he couldn’t imagine that someone was innocent. (chapter 17) He was a liar in the past, so it must be the same for the painter. Yet, this was the negative reflection from the past. Thus his karma was to get caught by his childhood friend. Striking is that this time, he was put in his friend’s place. He was turning his back to the door. Moreover, due to his anger, he didn’t hear Yoon Seungho’s steps and the opening of the door! (chapter 17) But the childhood friend refused to face reality in that moment, and as such to admit his guilt and responsibility. Why? It is because he had committed another crime in the past. This is related to the bedchamber incident. (chapter 83) However, here he had been caught by his father, hence I believe that this confrontation represents mainly the elders’ punishment. As for Lee Jihwa, despite the humiliation and abandonment in chapter 18, he refused to give up on his friend. (chapter 18) One might say that he was motivated by love, yet I think that it is related to his denial about his sexual orientation. And this coincides with his lack of honesty. He had not confessed his own sins and lies yet. Therefore (chapter 36) he presented himself as a pitiful creature, as he was sharing the protagonist’s suffering due to his knowledge. However, this was not empathy, just sympathy. The person only feeling sympathy will always put a distance between himself and the counterpart. There‘s a “I“ and “you“, but no „we“. The person might come to pity the other, yet he won‘t intervene and help. He will just understand and that‘s it. (chapter 36) This panel is the evidence for this interpretation. Lee Jihwa never used the personal pronoun “we”, even during the abduction. (chapter 59) [For more information about sympathy read the essay “Sympathy for the devil”] Hence the gods let him meet the mirror of truth a second time: (chapter 43) Based on this panel, Lee Jihwa had more or less barged in the study, but his presence was detected too late! One detail caught my attention in this picture, the presence of the light reflected on the door. Hence I assume that the main lead detected the presence of a witness because of the light!! (chapter 43) Let’s not forget that the room was dark, when they were having sex. (chapter 42) He was still looking at his lover’s face, when he perceived the change of the light. Hence he turned his head in direction of the light reflected on the door. My friend Luzaly brought my attention to this detail. The couple was turning their back to the door before. (chapter 42) The form of the light reflected on the door doesn’t come from behind the gate (chapter 43), for this is what we would see: (chapter 97) And now, you comprehend why I came to the deduction that Lee Jihwa had witnessed the love session not from this door, (chapter 43) from a different point. This explicates why once again, the lord couldn’t see the identity of the so-called “peeper”. Besides, don’t forget that the author is working with reflections, as such this means that the second lead must have been placed differently. But this doesn’t end here. I would like to point out that during that evening, the main lead had left the door wide open, when he confronted the artist. (chapter 41) However, in the next episode, Byeonduck showed us a slight change. (chapter 42) The door was now close. This means that the butler had intervened at some point. This was the negative reflection from episode 20. (chapter 20) This time, the main lead had not requested for more privacy, for he had not detected the presence of his right-hand. And this leads me to the following conclusion. Since this is not the door (chapter 43) which had been opened by Lee Jihwa, it is impossible for the second main lead to have witnessed this embrace from this perspective. (chapter 43) I am even suspecting that he didn’t view this scene at all, because logically, the light should be coming from the other side!! But on the other side, there is no door!! (chapter 49) But there is the window…. And now, you comprehend why Yoon Seungho never investigated the matter with the “door”. It had never been opened in the first place. But how could Lee Jihwa imagine such a scene? (chapter 43) It is impossible, for he confessed later that he knew about the friend’s longing for an embrace! (chapter 57) However, here it is necessary to remind the readers of my previous character’s examination. I had described Lee Jihwa as trapped in a dark room, because he had lost his auditory and visual sense due to his guilt!! This was the price to pay for his sins. He had imagined to see the friend’s smile and he had lied to the butler. And since in episode 17, his visual senses were triggered (the painting, the painter’s facial expressions), I deduce that in chapter 42/43, this time Lee Jihwa was confronted with the mirror of truth through words. Through the window, he could hear the moaning of the couple, hence he couldn’t see the painter’s sadness. Moreover, this is what the painter said: (chapter 42). It sounded like he was indeed seducing the main lead. As for the embrace, he couldn’t hear it, but someone had heard the longing from the painter. (chapter 41) In other words, the butler had helped Lee Jihwa to spy on the couple and had even divulged what he had heard from before. Naturally, he had deceived the red-haired master by omission. He never mentioned the existence of the scholar and the painter’s broken heart!! One might argue that this is not possible. I am again overthinking. But I would like to outline the existence of the following rule on which the story was created: the reflection within the same episode. How did Black Heart manipulate the red-haired master in the pavilion? Through words and that’s how the childhood friend came to envision this scene: (chapter 43) The gods were punishing Lee Jihwa for his lie: his friend’s smile!! But I have more evidences for this theory. First, it is important to pay attention to Min’s words, when he manipulated Lee Jihwa. First, he portrayed the painter in a pejorative light with the idiom “indecent life”. (chapter 43) Moreover, the noble employed the personal pronoun “we”, which is not typical for the selfish and hypocrite villain. This means that he was repeating Kim’s words. Then he added how the couple would have sex in the barn (chapter 43) (“vulgar roll in the hay”), but this was not true. However, this is what had happened in the past with Lee Jihwa. The latter would have sex with his childhood friend in the storage room. This explicates why Lee Jihwa came to believe in Black Heart’s words and manipulations. With such a description, he was reminded of his own past!! Therefore it is not surprising that Lee Jihwa had such a vision. (chapter 43) This is what he had wished in the past, and what he had done too: he had seduced his friend and smiled… and he had been caught! In other words, Kim was actually viewing the red-haired master as an immoral witch: (chapter 43) Moreover, since this night was a reflection of the first Wedding night, this means that the author left a clue there. And now, look at this… (chapter 21) The windows!! As you can see, the door is not the only place to spy or interrupt intimacy. Secondly, we should have reflections of the spying through the window in season 2. (Chapter 49) In this episode, the light in the study had suddenly vanished, and this is what we had before: (Chapter 49) This darkness exposed the presence of someone outside. Then in episode 70, the author drew a panel focusing on the window and the bougies. (Chapter 70) I had already suspected back then, that someone was listening to their conversation, and with this new discovery, Lee Jihwa hearing the love session from the window, this interpretation gets reinforced. Furthermore, in chapter 96, the main lead had explained the opening of the door with this: (chapter 96). This signifies that in the past, the lord had explained the sudden opening of a window and the vanishing of the candle light with the wind during the night of chapter 49.

But why was Lee Jihwa confronted with the mirror of truth? It is because he was still dishonest. He kept deceiving himself and refusing to admit his wrongdoings. In the inn, this is what he had said in front of the nobles: (chapter 36) The reality is that he couldn’t cut ties with his friend. He had lied in the past, therefore he got manipulated in the present. And since he was confronted with his auditory and visual senses in season 1, he was put in a similar situation in season 2. However, there was a slight change, now the red-haired master was confronted with a real crime: murder!! The darkness of the room and the silence from Yoon Seungho and the painter were referring to the master’s loss of senses and his guilt. Deep down, the young master knew that the assassination was not right. And note that the aristocrat had this nightmare in his own bedroom confirming that the room is the symbol for the subconscious. Finally, in season 3, Lee Jihwa got confronted with another uncomfortable truth: his friend’s sexual abuse. Lee Jihwa had acted, as if this stolen kiss was nothing. However, due to his silence, he let his friend get raped. And he knew about this, but he chose to close an eye to this. First, Lee Jihwa refused to share his friend with the painter (chapter 18) implying that in the past, he had to share Yoon Seungho with other men. But since he had declared that the main lead had never taken an initiative, this signifies that the protagonist had no choice in the selection of his partners. He had not the right to refuse anyone, not even the red-haired master. Hence the latter got furious and angry, when he was rejected for the first time. (chapter 5) Therefore it is no coincidence that in the shaman’s house, he was put in the same position than Yoon Seungho. He couldn’t select his partner (chapter 100), he had to rape Baek Na-Kyum. This is no coincidence that the Joker was standing in front of the door. He was pushing the young man to face his repressed memories and lies. That’s the reason why exactly like in the pavilion (chapter 43), Black Heart coerced the antagonist. He used words to manipulate the second lead, but there is a huge difference. The shaman’s house was representing the young noble’s unconscious and as such his true personality, while it was not the case in the pavilion. The room in chapter 43 was more embodying the Joker’s unconscious. Why? It is because Lee Jihwa was speaking the truth in that scene. (chapter 43) He reproached Black Heart to have deceived him. On the other hand, the scene in the shaman’s house corroborates my interpretation that Lee Jihwa had not seen the embrace from chapter 42, for Black Heart was voicing the butler’s thoughts and emotions. (chapter 100) This shows that during the night of chapter 42/43, the valet had intervened. Thus Min was acting, as if he was a victim in the recent past. He had been deceived by Lee Jihwa’s lies by omission or commission. This is what had happened in the past. Besides, I realized that when the man confessed the incident in the bedchamber (chapter 83), Min couldn’t see the whole story. He had to rely on the second lead’s words. Just because we could observe the whole scene, this doesn’t mean that this was the case for the character. It is very likely that Lee Jihwa left details out, especially as he portrayed himself as a victim. Due to the narration, Min could have been misled. He could have envisioned that the childhood friend was living in the study and had dragged his friend to the bedchamber. Hence you comprehend why I consider it as another evidence that Lee Jihwa didn’t view the love session in the study from chapter 42 with his own eyes. He had to rely on his ears and naturally Kim played a role before Black Heart’s intervention. The servant hoped that Lee Jihwa would decide to do something…. in other words, he had been gradually manipulated by Kim and Min to hire an assassin. That way, he could be blamed for the murder of the scholar. He would become guilty by association. And the one pulling the strings behind the scene can only be the mysterious lord Song, for he can no longer interfere directly, though I am certain that he was not aware of the butler’s own meddling. Why? It is because in the past, Kim had never become proactive like that. Moreover, I think that even in the past, the man was not omniscient and omnipotent either. He over-estimated his own abilities, and didn’t recognize that he had been fooled himself either.

But let’s return to the scheme in the shaman’s house. The young master Lee was now cornered, for he had kept denying his own wrongdoings: the sexual assault with the stolen kiss and the lies by omission and by commission! What caught my attention is that the antagonist associated the sexual abuse with murder! (chapter 100) This is no coincidence, for the sexual abuse is the reason why Yoon Seungho’s heart and soul got destroyed. This had the same effect than killing someone, especially if the person is so innocent and pure. Because he recognized the truth, he had the courage to abandon and betray Black Heart. That’s how he could redeem himself in the end. (chapter 100) At the same time, this is not surprising that Lee Jihwa met his friend and admitted his wrongdoing. For the first time, he didn’t remain silent and chose to intervene!! I also believe that during that night, he apologized to the protagonist before vanishing. In other words, Lee Jihwa had to face 4 different mirrors of truth, until he was able to admit the verity. He was responsible for Yoon Seungho’s suffering. He had lied, therefore he got deceived, until he had no other choice to confess his guilt and sins.

2. Yoon Chang-Hyeon’s lies

In episode 77, we discover from the butler the patriarch’s following promise to Kim: (chapter 77) He would do anything to cure Yoon Seungho implying that he wouldn’t mind spending money for the main lead’s treatment. However, the truth was that he refused to send for the physician, when the young boy was sick after the straw mat beating. (chapter 77) This means that he broke his promise. Striking is that the vow to the butler was introduced in connection to the patio!! When the readers hear this promise, this is what we see shortly after. (chapter 77) Secondly, the elder master Yoon was seen shortly after there. (chapter 77) That’s how I realized that the elder master was connected to this patio in front of the building. Thus Byeonduck showed us him in this place in the gibang (chapter 87) Finally, there exists the flashbulb from Yoon Seungho’s memory: (chapter 55) My avid readers will certainly recall how I had claimed that this scene was representing Lee Jihwa and father Lee. I am not changing my mind, but I would like to point out that this story is built like a kaleidoscope and as such, each image is actually a reflection. Thereby I come to the conclusion that in this panel, the young boy and the elder are in verity embodying 4 people: the boy is Lee Jihwa and Yoon Seung-Won, as for the elder, it is father Lee and the elder Yoon. Why? It is because the punishments were related to the Lees’ behavior and words. There is no ambiguity that elder Lee intervened to protect his son’s reputation. In other words, father Yoon was seen in the patio in chapter 55. Then when he visited the physician, he remained outside too contrary to the main leads. (chapter 57) It was, as if the elder master had nothing to hide, for the domestic and the butler could hear him. However, the latter got deceived. There is no ambiguity that the valet and the young master trusted him. On the other hand, the valet was the one who introduced him to the physician, like we could see here. (chapter 57) But what does it mean? First, it shows that Yoon Chang-Hyeon was never seen in the bedchamber!! In other words, his power was fake. This interpretation gets validated, when I use the confrontation between Heena and Yoon Seungho. (chapter 65) In that very same place, the protagonist had been insulted and could do nothing, for neither Kim nor his staff intervened. And this perception reinforces my perception that the patriarch has always been delusional and arrogant, over-estimating his own power. Moreover, the lord was not honest either. (chapter 65) This shows that the patio is connected to violence, hypocrisy, deceptions and offenses.

Moreover, the patio in front of the bedchamber where anyone can see and hear the elder Yoon reminded me of the learned sir who selected the pavilion to incite the painter to disobey his host and sponsor. That’s why I started suspecting Yoon Chang-Hyeon again, if he had not manipulated the butler in the past and this on purpose. Moreover, since in Painter Of The Night, the room embodies memories and the unconscious, I deduce that the patio is exposing Yoon Chang-Hyeon’s true personality. He lacks not only integrity, but also knowledge. Let’s not forget that knowledge is acquired through reading and experiences. But in the patio, there is no book… and the person can only witness what is happening in the courtyard. This means that the view is limited and the person is not interacting with people. This explains why the man is stupid and superficial. Because of this new discovery, I had another revelation!!

According to the main lead, only his grand-father had a government post. (chapter 7) Then in the study, Yoon Seungho confessed that his father had been dismissed from his post which contradicts the previous statement. (chapter 80) But how did Yoon Chang-Hyeon obtain his office then? Then the expression “follow in his footsteps” caught my attention. That’s how I realized that the elder master never passed the civil service examination!! In truth, he failed terribly. How can I be so sure about this? First, the civil service examination consists of different tests. Secondly the idiom from Yoon Seungho indicates an gradual rise in the grandfather’s career which is not reflected in the lord’s confession to the messenger. Finally, in front of the mirror of truth, the father voiced the following wish: (chapter 86) This expectation exposes that this had not happened in the past. But why didn’t he expect this from Yoon Seungho earlier, though the latter had such a good notoriety? It is because he desired to be admired himself. He viewed himself as the Yoons. Thus he said this to his son: (chapter 86) This means that he was using his own sons for his own career, though he claims that he is doing for the Yoons’ notoriety. In other words, the patriarch’s position was obtained through sexual favors. But since the king was the sponsor, there is no ambiguity that at some point, the elder master must have started dreaming even bigger, similar to the scholar: (chapter 18) Hence I have the impression that he must have acted, as if he was the king’s relative. Hence he asked to be called by a certain title. This could only infuriate the mysterious lord Song, for the latter was hiding his sodomy and debauchery behind closed doors. No one was supposed to make a connection between him and the Yoons. However, I don’t think that the elder master Yoon had planned everything from the start. He had definitely been misguided, for in season 1 and 3, we could see that he was believing blindly what people would say to him. He never doubted his son’s words, when the latter said that Yoon Seungho had given him such a paper. (chapter 44) And it is the same with father Lee. That’s the reason why I still think that he had been manipulated. He was pushed to sell his own son, thinking that the Yoons would benefit from it. However, this was just a delusion, as he was dependent on the monarch’s benevolence.

Therefore I came to realize that the confrontation in the bedchamber in chapter 83 was actually organized to mock the elder master, but not only by Kim. (chapter 83) Here, he was confronted with reality. His power came from prostitution and nothing more! From my point of view, this scene was a reflection of the night in the study with Min: (chapter 53) But Yoon Chang-Hyeon refused to admit it, it went so far that he was denying his relationship with Yoon Seungho. He was just an animal. (chapter 83) The reason why I am connecting it to episode 53 is because of The Joker’s smile which reminded me of lord Song’s evil smirk. The man had a view to the patio, hence he could see who could enter the bedchamber or not. And observe that when the brutal father was in the bedchamber, the main lead never replied to him. This could only reinforce the man’s delusion and greed. That’s the reason why Yoon Seungho had to live in the barn and was not dressed properly. The elder master Yoon was avoiding his son for this reason. He was closing an eye to the truth. And that’s how he could convince himself that Yoon Seungho was just a sodomite. In other words, he came to believe his own lies, while in the beginning, he had definitely been deceived himself. To sum up, his evolution stands in opposition to Lee Jihwa. Instead of suffering from guilt and shame, he came to adopt this philosophy, Yoon Seungho is responsible for everything. His hatred towards the protagonist could only increase. But reality caught up with him during the same night! He ended losing his power, as all the noble families supporting him vanished. He had promised to cure his son, he ended up as a wreck. His health deteriorated, hence he is much thinner now. (chapter 87) He was paying the price for his lies about the cure. Furthermore, the manhwaphiles will realize that he is no longer seen in the patio. (chapter 44) This explicates why he refused to bid farewell to Yoon Seung-Won from the patio. This means that he chose to live in the bedroom, totally cut off from the world. And this leads me to the following observation. Once he met his son after such a long time, he refused to accept the verity. He was responsible for the situation and for Yoon Seungho’s suffering. This shows that his self-manipulations can no longer be removed. He remained once again totally delusional, thinking that the treason was just a subterfuge! (chapter 86) Why? It is because the young lord was supported by the “king”. But since he had cut ties with the main lead in the past, treating him like a servant, there is no doubt that the pedophile doesn’t view Yoon Chang-Hyeon in a good light. Hence the son became the true owner of the mansion. In the bedchamber, the father was confronted with the consequences of his decisions and lies. He had lost everything: his position as the head of the family, the propriety, the wealth and the connections. Thus he was left speechless. (chapter 86) But when he arrived in the study, this is what he saw. This picture revealed his greed and ambition (chapter 86), but he would never admit it. This is no coincidence that the open door is reflected with the shadow. He claimed to contribute to the lineage of the Yoons, but like mentioned above, he was only thinking about himself. This scene shows that he was eyeing for the throne, and this must have happened in the past too. That’s the reason why I believe that he did sell his son to a pedophile for his own greed and ambition, but he never admitted it. He used the family and traditions to hide his ruthlessness and selfishness. When the father was on the verge of leaving the study, he expressed his regret that he shouldn’t have saved his son. (chapter 87) This was another self-deception. Without the main lead, the latter would have lost everything. Note that he is living comfortably in the house in Hanyang. So if the young master were to disappear, I doubt that the mysterious lord Song will allow the father to take over the mansion. His regret implied that he shouldn’t have sent for a doctor. This is important, because this signifies that he will be punished the same way, it will be even worse. No one will be by his side to protect him and to save him… no one will request for the physician’s assistance. Similar to the broken promise in the patio: (chapter 77) Moreover, the father acted, as if he was decent and righteous (chapter 87), while Yoon Seungho was compared to a monster! (chapter 86) The outcome of his lie can only be that he will be perceived by people as a monster, as an immoral father who had no conscience at all. How do I come to this conclusion? First, the painter could see right through the father’s gaze. (chapter 87) He was a cruel and resentful father. Moreover, the lord’s words always become a reality. Hence the father can only be condemned as the licentious and depraved degenerate. (chapter 86), the black sheep! Furthermore the moment Yoon Chang-Hyeon loses the house in Hanyang, he has no place where he can hide himself from public gaze. He can only ended up as a powerless outcast. I am suspecting that since he longed to be admired and fawned, he could end up committing suicide, for he is unable to tolerate people’s rejection and insults. To conclude, the father refused to admit his guilt and wrongdoings till the end. Even cornered, he chose to avoid reality, preferring to trust father Lee and the butler’s lies. Why? It is because he envisioned that by removing the main lead, he could take over the mansion, and act, as if nothing had happened, as if Yoon Seungho had never existed. The gods will fulfil his wish so that he can be confronted with reality. Besides, note that the patriarch never stopped his son from kissing the painter, he even followed him to the seat. (chapter 87) This shows that deep down, the man was not truly against sodomy and prostitution. The father resented the son, for he could only achieve “glory” through debauchery and sodomy. I believe that the elder master Yoon was thinking like this: “no matter what” the Yoons’ power and notoriety must increase. In the bedchamber, the man exposed his true personality, while in the patio he was just the fake image of a powerful, decent and righteous man. This explicates why it took the teenager so long to realize the father’s betrayal. (chapter 55) In the patio, the son still trusted the patriarch. In reality, Yoon Chang-Hyeon needed admiration in order to feel alive. In other words, his credulity, arrogance, superficiality and narrow-mindedness were the causes for the downfall of the Yoons and the main lead’s suffering. We could say that the folding shield in his bedchamber truly reflected his personality. (chapter 82) He was just an empty shell, his knowledge, experiences and possessions were just an illusion.

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

Painter Of The Night: Time ⏳ and crime (second version)

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

This won‘t be a long analysis like “The end of the vicious circle”, for my main purpose here is to try to reconstruct Yoon Seungho’s terrible past, and as such its chronology.

1. The incident in the study

We know now for sure that the starting point of Yoon Seungho‘s downward spiral was the incident with Jihwa.

Chapter 77: The young boy was caught doing something immoral, though like I elaborated it in my previous analysis, there‘s no doubt, the main lead was drugged, and Jihwa had been somehow manipulated. While some might see two teenagers fooling around, I have a different perspective. Then I came to realize why the perception from the manhwaphiles diverges so much. It is, because the readers are actually projecting their own thoughts and expectations. Hence this is normal that certain readers are still expecting something innocent and pure. Yet, since I believe, Yoon Seungho was never a sodomite from the start, but was turned into one, for me the smile and gaze from Yoon Seungho in that scene seemed so fake and artificial, especially if you compare it to this one: (chapter 57) versus (chapter 77) In the first one he oozes innocence and affection, in the other he’s in ecstasy, roofied. However, we have to envision that this smile could have just been a projection of the butler, which means that this represents a distorted memory. Like I explained in my previous essay, the noble has the same gaze than the painter under the influence of opium and alcohol.

“Date rape drugs make a sexual assault, including rape easier  in one or more ways, such as:

  • making a victim more compliant and less able to say no
  • weakening a victim so they are unable to resist or fight back
  • making a victim fully or partially unconscious
  • weakening a victim’s inhibitions, so they consent to sexual activity they may otherwise decline” quoted from

And if you pay attention to Yoon Seungho, he was not active at all. He was behaving like the painter in chapter 54.

2. Kim’s past actions

Observe the butler‘s actions. He opens the door without announcing himself. But remember the butler’s MO, it is to delay to deliver the information. We could observe this on different occasions like chapter 44 or 50. He never told the painter about the scholar’s departure(chapter 44), just like he only reported the conversation between Jung In-Hun and Baek Na-Kyum many weeks later. (chapter 50) That’s why I come to the conclusion that he never ran immediately to father Yoon in order to report the incident. The butler just needed to inform him later. While in the past, I used to think that he had used rumors again as an excuse, I have now a different perception. For me, it was someone else badmouthing the main lead, well aware that father Yoon feared gossips the most, (chapter 50) an older version of this image. This explicates why Yoon Seungho had regained consciousness and could fight back against the servants, when he got dragged to the shed. (chapter 77) Besides, observe that the main lead was sequestrated in the storage room on two occasions at least.

3. The shed and study

Hence Yoon Chang-Hyeon ordered to drag the young boy to the barn. (chapter 77) However, since it happened twice, I am deducing that this was not the case for the second time. But if you pay attention to Yoon Seungho‘s bedroom, you will notice that he was living in the actual painter‘s study. (chapter 77) And this means that the intelligent noble was in a privileged situation. Remember Jihwa’s words: (chapter 05) With this remark, the noble expressed a certain annoyance, for he would live next to Yoon Seungho. This truly shows that the painter’s room was a sign of Yoon Seungho‘s favoritism towards the low-born. So if the main lead had such a good reputation and was even favored by the eldest master, this signifies that he could only attract people‘s gaze. Thus some persons definitely envied or resented him, like Yoon Seung-Won and father Lee. And it occurred to me that the younger master had every reason to feel jealous of his elder brother. He might have had the impression that his father had no eyes for him. In other words, he could only benefit from such an incident. If his brother lost his father‘s favor, then he imagined that he would get noticed by his father. As you can imagine, I believe that someone must have poisoned Yoon Seung-Won‘s mind. From my point of view, only a grown-up could have access to the drug. I can‘t shake the butler‘s philosophy from my mind: „Ignorance is a blessing“! The person behind the plot knew about the children‘s weaknesses (innocence, longing for love and recognition, desire) and decided to use them to his advantage.

4. He is not in his right mind

But then suddenly it occurred to me that chapter 77 is a reflection of episode 5. Note the resemblance. Jihwa talked here about virginity by opening the commoner’s shirt. The manhwaphiles will certainly remember that during that night, the noble got rejected, for the lord’s mind was elsewhere! And here we have a proof that Yoon Seungho acted differently in the past. His mind was elsewhere due to the drug, but he didn’t stop his friend. Observe the similarity between the gestures: (chapter 5) (chapter 77) The young boy’s head stood above his childhood friend, exactly like with the painter. Jihwa also removed the shirt, but since the low-born stopped him, this signifies that Yoon Seungho had the opposite reaction. He was allowing his friend to kiss and touch him. However, the young noble couldn’t enjoy this moment, as the butler arrived so that the red-haired aristocrat ran away and abandoned him. Very early on, I had elaborated that Jihwa must have done something to his friend and ran away in order not to get caught. I had come to this deduction due to the incident with the door and the painter’s worries. He feared to have been seen.

5. The reflections in the kaleidoscope

That’s how I recognized a certain pattern in this story, the final proof that the story is built like a kaleidoscope:

  • chapter 05:
  • Chapter 16: Here, the artist was imitating the red-haired aristocrat’s actions in the past. The only difference is that he was the passive one!! Striking is that both chapters have something in common: one is always seducing the other, and the latter isn’t accepting the advances. In addition, the masturbation was not disclosed to anyone, yet someone notified Jihwa about the painter’s late return.
  • Chapter 17: I judge this episode as a reflection from chapter 5, for the gestures are similar: the hand on the painter’s shoulder. Furthermore, the readers will note the presence of the sweets, the butler carrying food, but he’s avoiding the lord’s chamber. At no moment, he reports Jihwa’s trespassing, his master only discovers the assault, for he hears the commotion. The artist wouldn’t have been slapped, if the staff had immediately announced Jihwa’s visit. Striking is the aristocrat’s confession: (chapter 17) Other common points with chapter 77: “seduction”, the violence of the noble, his rage because he feels that the painter is lying and had lost his virginity with Yoon Seungho. Besides, I would like to point out that the lord only discovered Jihwa’s assault through the gossip. He came too late, hence he couldn’t stop Jihwa from insulting and slapping the low-born.
  • chapter 50: Jihwa was living in anxieties that he needed alcohol, an indication that in the past he must have struggled as well. We have to imagine that back then, he feared that his father Lee would hear about this incident, but father Yoon never let transpire the incident to the outside world. From my point of view, father Lee must have denied his son’s actions, but the aristocrat with dragon’s eyes was no fool. And remember that I used the same chapter to outline that Kim communicated the information to his master in delay. Note that in this episode, time was essential. Both figures were struggling. While the one hoped, the murder would be done soon to put an end to his suffering, the other had the impression that he was running out of time. He couldn’t change the artist’s heart and mind, too wounded.
  • Chapter 57: The visit to the physician showed us the lord’s past. Back then he got hurt by his father, but he was still looking fine. More importantly, he still trusted his butler. Father Yoon requested some medicine, for he believed that his son was not right in his mind. The physician presented the box full of drug which Kim has been giving to his master since his youth.
  • Chapter 66: Here, Min arrived unannounced at the mansion and could observe in the lord’s chamber what Yoon Seungho had done. Here, he revealed the so-called culprit for the painter’s disappearance. The common denominators are: the delayed disclosure about the crime, the servants not doing their job and gossiping, the passivity of the butler.
  • Chapter 67: After the main lead had discovered the crime disclosed by Min, he rushed to father Lee’s mansion and caused a commotion. What caught my attention is that we had again an incident with a door. In addition, Jihwa couldn’t run away. He was trapped in the room, yet he refused to face his friend. The other similarities are another rejection and the delayed arrival of father Lee putting the blame on Yoon Seungho.

And now pay attention to the number of the episodes: 05 – 16 (1+6 = 7) – 17 (1/ 1+6) – 50 – 57 (50+ 1+6) – 66 ( 5+1/ 5+1) – 67 (6 / 6 + 1) – 77 (1+6 /6+1) Here we have the kaleidoscope. For me this is no coincidence. But more importantly, all these chapters contain seduction, but also rejection, resistance and the presence of drug.

6. Jihwa’s dream

And by putting these chapters together, we get finally the evidence that Jihwa was the boy in the protagonist’s room. Then it came to my mind why the red-haired master was still unhappy in his relationship with Yoon Seungho. When he was wooing his friend in his youth, he saw the friend’s smile and gaze and imagined that he had been accepted. (chapter 77) I also believed that he had to envision this smile from Yoon Seungho to justify his action. An older version from this chapter: (chapter 19) That’s why Jihwa was blushing the whole time. His dream seemed to have come true!! But unfortunately, they got interrupted. But he didn’t realize that this “dream” was just an illusion, and he had been played. Because he had opened the friend’s shirt, he noticed his virginity. That’s why he had an eye for that. (chapter 5) He had gained this experience with his friend. Since I see some parallels between chapter 77 and the first Wedding Night, which stands for illusion and dream, it becomes even more evident that Yoon Seungho had been drugged and both young boys got played. During all these years of separation, the second lead kept his virginity intact for his friend. Once the main lead got betrayed and abandoned, Jihwa saw finally that his dream could come true. Since Yoon Seungho’s gaze had haunted him for so long, he hoped to obtain the same gaze, as in his mind it was the symbol of love and affection. Besides, he had another reason for approaching his friend. Since he had caused his downfall, deep down he imagined that if they became a real couple, then he could do as if the time of their separation had never happened. They would live, as if nothing had happened.

And now, you comprehend why Jihwa was so sure that his friend would never purse and seduce another man! (chapter 17) Yoon Seungho had never done it to him. Remember my observation: the main lead had been totally passive in the study due to the drug. In fact, he had never rejected anyone, (chapter 52) because he had been trained as a kisaeng. And these observations made me recognize another important aspect: Jihwa, exactly like Baek Na-Kyum, has never discovered that sex could be a form of violence. From my point of view, the chapter 77 shows us that sexual assaults can take many different forms. Using a KO-drug is definitely a crime, but due to Jihwa’s lack of experience, he couldn’t recognize the true nature of the situation.

That’s why I believe that Jihwa will still help Min, because he feels bound to him by secrecy. He is acting like the butler, he wants to survive and not get caught, that’s his driven motivation. However, he will be cornered and forced to make a decision: save his own skin or help someone. In my first version, I had written that the moment he discovered Min’s actions, he would be able to judge the situation correctly this time. And this expectation became a reality. (chapter 100) Black Heart taught Lee Jihwa an important lesson, the importance of consent. Someone can be forced to sex, which the second lead never truly grasped. He had to pay a huge price for the stolen kiss and his betrayal 10 years later. Interesting is that Lee Jihwa ran away, because he rejected to be responsible for the painter’s death, a synonym for Yoon Seungho’s curtains. (chapter 100) This is what I had also written in the first version.

However, as you can imagine, I am expecting a growth from the second lead. He will make the opposite choice than Kim, save the painter, while I am more than ever convinced that the butler won’t change his bad habit.

7. The chronology

But let’ s return our attention to chapter 77. When the butler opened the door, the second lead ran away leaving his friend behind. But Kim didn’t report the incident right away, he started spreading some rumor. Why? It is because we have the presence of rumors in chapter 17, 50, 57, 66 and 67. And notice that 17, 57, 66 and 67, he never stopped people from gossiping, while in chapter 50 he revealed the intel as rumor.

Since all the episodes involve the unannounced visit of a noble (17, 50: here Seungho barged in the scholar’s room, 57, 66, 67), I could only come to the conclusion that father Lee was the one who paid a visit to father Yoon, and revealed the incident by naturally putting the whole blame onto Yoon Seungho. But unlike in chapter 67, father Lee visited discreetly the mansion, as he feared gossips. That’s why the physician mentions that Jihwa was supposed to have the illness (chapter 57), but he could never identify the issue. And now, you comprehend why father Lee was red, totally embarrassed (chapter 67), for he was well aware of the truth. We have many possibilities here. Either someone leaked the info to the father secretly, or the son must have confided to him about the incident. Remember that in chapter 68, the painter confided to her his deepest fears and struggles. Let’s not forget that the son had hired an amateur spy in order to be updated about the events occurring in Yoon Seungho’s mansion. Consequently, I am inclined that the incident must have reached father Lee’s ears, and in order to maintain his respectability, he preferred covering up the commotion by blaming the elder son Yoon.

Since father Lee had intervened and Kim chose to reveal the “truth”, father Yoon could only perceive the incident as a truth. Consequently, father Yoon ordered his servants to drag Yoon Seungho and to confront his son. From my point of view, father Lee was questioned as well, but as you can imagine, he covered up his own son’s action. Since everyone was pointing the finger at the main lead, no one sided with the young boy. In other words, he got not only blamed, but also framed.

Right after he asked his staff to drag him to the shed as a punishment. But as you can imagine, Yoon Seungho couldn’t have any idea why his father reacted like that, for he had been drugged. He had no recollection, hence he denied the existence of the incident. However, the father chose to believe Kim, as he had the crowd. Imagine his reactions: the main lead had to hear from him what he had supposedly done. I would like to point out that victims of rape due to KO-drug suffer from immense guilt, as they showed no resistance or even seemed to “enjoy” the incident.

The valet gaslighted the poor boy by making him feel guilty (chapter 77), but despite his harsh and cruel words, the young protagonist chose to continue trusting him and his words. Let’s not forget that Kim claimed that his father would fix his “problems”. (chapter 77) From my point of view, the young master was determined to show good will and to listen to Kim’s advice.

Because he was sent to the shed and we see the straw mat beating right after, we have the impression that this was the punishment he received for this incident. But this was an illusion created by the author. Why? First, when the father visited the doctor, the young boy was still looking fine. He had such a rosy complexion, and still admired and trusted the butler. However, the main lead’s gaze changed after the straw mat beating. He recognized that he had been betrayed and abandoned by Kim. Observe the slight movement of the iris. First, the iris is directed at Kim, then it moves in the opposite direction. By looking away, he clearly unveils his inner thoughts and emotions: he has been betrayed and abandoned by his butler. He resents him, yet until that moment he was still willing to trust despite the multiple betrayals. He is disillusioned.

But there’s another indication that the straw mat beating didn’t occur right away. It is, because of the following panel: (chapter 55) First, there’s no rain. Secondly, Yoon Seungho was feverish and his eyes were so bruised after the harsh punishment that I doubt he could still see clearly the boy’s gesture so from faraway. So for me, that’s the moment when he is dragged into the courtyard and not during the straw mat beating. In the past, I used to think, it was Yoon Seung-Won, but then after the latest episode I started doubting it. However, like one of my followers reminded me that Byeonduck had confirmed about Yoon Seung-Won’s identity. Yet, observe that the lord and the boy have no face. Why? It is because the two persons embody not only Yoon Chang-Hyeon and Yoon Seung-Won, but also father Lee and Lee Jihwa. The scholar Lee was the one who had asked for the flogging! That’s the reason why he said this to the lord years later: (chapter 82) This statement proves that he had done it before! Furthermore, the red-haired master is connected to the straw mat beating. (chapter 12) This explicates why Lee Jihwa resented the brother and the father, for in his eyes they were responsible for his childhood friend’s suffering. And since the father had done it once, then he had no problem to order a second flogging or straw mat beating, just like the king Yeonjo who punished the Crown Prince Sado so brutally. So because the eldest master next to Seung-Won is dressed differently in chapter 77: (chapter 77) I could only come to the conclusion that these two panels are not referring to the same incident.

From my point of view, Yoon Seungho received the second straw mat beating after the rape!! And this means that Kim had been present, but he had not intervened. (chapter 65) Here, he had been brought back to the past. Remember the past mirrors the present. In my eyes, the rape of the main lead occurred at the same time than the painter’s. It took place in fall. So when did Baek Na-Kyum get sick?

It was after the first sex marathon! He was dragged to the bedchamber and due to the long sex session, he got sick. Notice the parallels:

  • he is so wounded, but the father refuses to call for a doctor (chapter 33)
  • it is raining, and the painter got sick due to the wet clothes (chapter 27/29)
  • Father Yoon abandons his son and leaves him behind. He doesn’t even carry his son himself. (chapter 33) Note that Yoon Seungho called for a doctor, he even carried himself to the study and waited there, until the doctor had given his prescription.

And now, the manhwaphiles comprehend why I came to this interpretation.

What happened is the following. Once he had been abandoned by the father, the rapist could approach him and have sex with him. Kim heard the boy’s resistance, but he chose to remain outside, until the man was finished. (chapter 65) I am quite sure that the butler’s passivity was justified that it was done for the main lead’s sake. However, once it was over, the butler was forced to see the consequences of his bad choice. But the valet refused to become responsible and gaslighted the young master again. If he had not kissed Lee Jihwa, if he had put his prick in the hole etc… The main character had still acted like a dog and a cat, and this time he reported it to his master directly so that the latter came to the conclusion that Yoon Seungho was still useful for him. Or the eldest master knew about it anyway. But the main lead never got to discover that Kim had heard him outside the room, but had remained silent and passive.

And now, you comprehend why Yoon Seungho was so hurt and disappointed by Kim. Kim never protected him or even defended him at all. He made sure that the young boy would be blamed and should feel guilty or he remained paralyzed and speechless. He never rushed to his care. And since father Yoon speaks “chambers”, this means that the protagonist had already become the lord Song’s “favored servant.” But he had not reached the bottom, he needed to become a kisaeng. In my eyes, the young boy got punished, as he was still refusing his role as „favored servant“. And now, you comprehend why Kim threatened the doctor in chapter 33. The latter had reminded the butler of his own wrongdoings: (chapter 33) Back then, he not only followed his master’s requests, but also he did nothing at all. He stayed immobile and shocked. (chapter 77) I believe that when the valet looked at the young boy’s gaze and perceived his own true reflection (a disgusting and fake domestic), the man was surprised. He never imagined that he would be judged differently: (chapter 67) The main lead must have thought similarly. But due to the long exposure to abuse and to the drug, Yoon Seungho repressed these thoughts and emotions.

8. The beneficiaries

So if my theory is correct (Yoon Seungho was drugged), we have to question ourselves. Who benefitted the most from the protagonist’s downfall?

  • Yoon Seung-Won: he could finally obtain the study next to his father’s bedchamber. He would finally get some “recognition”. And note that the brother got dressed exactly like the main lead. He had finally reached his goal: he was the better son.
  • the pedophile
  • Father Yoon: I am convinced that the father made a deal with the rapist. Now, the author has revealed that it was Yoon Seungho in the kisaeng house (chapter 68). Father Yoon imagined that if he had sex with a kisaeng house, he would be cured. However, something happened in the gibang. The young boy refused which forced the nobles to intervene. Yoon Seungho got dragged and tied up by the black guards. Naturally, father Yoon could only jump to the conclusion that with such a rejection, Yoon Seungho was admitting his homosexuality. This could only reinforce the prejudices the father had about his son. The irony is that with such an attempt, father Yoon exposed that he was a man obsessed with sex. He never understood that sex is strongly intertwined with love and warmth. Thus I deduce that father Yoon never associated sex to affection. For him, it was either a synonym for power, submission or duty as the noble has to make sure that he has sons to continue the legacy. With this new insight, I come to the conclusion that the man was totally fooled by his surroundings and most importantly by the rapist. Everyone lied out of selfishness and cowardice, and let the young boy take the whole burden. Hence the father truly believed in his son’s homosexuality and out of resent and contempt, when he saw an opportunity to use his son for his own career, he was trained as a kisaeng. In my eyes, this idea was definitely suggested by the pedophile, though I doubt that he was directly involved in the incident in the kisaeng house. And the man dreamed of bringing greatness to the Yoons with his “connections”. However, this was just a pyrrhic victory, as both Yoons lost more than they gained, for the rapist hadn’t kept his promise.

That’s why I believe that the younger brother was indeed involved in the first incident misguided by the rapist, instilling his jealousy, an older version of Min and Jihwa. But the young son never imagined that his father would treat his brother like that. The panel from chapter 55 exposes Yoon Seung-Won’s guilt and silence. But as time passed on, he could still benefit from this. He finally got recognition from his father. (chapter 86) But it was in detriment of the Yoons’ power! The father lost everything, yet the younger master didn’t suffer much from it first, until he reached adulthood. Now, the father was putting his whole hope on him, and that’s how Yoon Seung-Won realized the existence of such a burden. That’s the reason why he contacted his brother again. He hoped to get an office through his brother’s connections and power. Remember that Baek Na-Kyum’s real torment started with the arrival of the learned sir to the mansion. Hence the moment “lord Song” came to the propriety, he started scheming to achieve his goal: he was bewitched by the young protagonist, he needed to taste him. However, from my point of view, the pedophile had sent the butler for this exact purpose. He must have definitely known how Kim would behave in there. I have already exposed that for me, the butler represents the poisoned gift from chapter 19. (chapter 19)

But since the whole tragedy was caused by delayed information, I deduce that timing is essential, especially when it comes to “justice”. Since the “accomplices” and “perpetratrors” never got punished, they imagined that they had escaped human justice. However, karma was waiting for them. Jihwa was never happy, though he had become the main lead’s lover. Why? It is because he had to live with his guilt. Moreover, he had wished to obtain Yoon Seungho’s love. In other words, he was living an illusion. The brother didn’t gain anything in the end, as his comfortable life and good reputation were based on Yoon Seungho’s suffering. Secondly, father Yoon almost lost everything. However, I doubt that all of them learned their lesson, just like the pedophile. This explicates why Yoon Chang-Hyeon schemed again in season 3. (chapter 94) He hoped to appear as a good lord, while his son had mistreated his own messenger.

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

Painter Of The Night: Pranks

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

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

The final words in the essay called “A thousand thoughts swept through my mind till sunrise” were the following:

I believe to see here another clue for my prediction that the next chapters will contain elements from chapter 26 (the bath), 36 (the head-maid and the fellatio), 46 (the maid talking to Baek Na-Kyum), 56 (the wet dream and the bathroom) and 66 (the dream). Striking is that all the episodes I mentioned are ending with a 6!! The most incredible is that the symbolic meaning of six are harmony, balance, sincerity, love, and truth.” 

Therefore imagine my surprise, when I read the chapter 70. My prediction turned out to be quite accurate, for elements from the chapters ending with a 6 were indeed present. Yet the only difference is that I didn’t include the episode 16. This signifies that my conclusion remains unchanged: the interaction between Yoon Seungho and Baek Na-Kyum in the bathroom stands under the sign of truth, harmony, honesty and love. No wonder that all the readers were very satisfied with the new chapter.

What caught my attention is that the episodes 16, 36, 46, 56 and 66 have one common denominator, which I didn’t recognize first: pranks. In episode 16, we witness how the lord is playing with the headband. He is not only playful, but also flirtatious. Note how he puts the headband on the main lead giving him a seductive allure. At the same time, he acts like an innocent teenager who keeps asking questions: Yet, the topic is actually about sex, which contrasts so much to purity and innocence. It was, as if Yoon Seungho was behaving like a teenager discovering sexuality for the first time. While talking, he can’t even help himself smiling. Striking is that his joke and words are used to woo the painter. He keeps getting closer and closer to Baek Na-Kyum, so that his head approaches the painter’s, before his hand starts touching his leg. As you can detect, the scene in episode 16 is a combination of seduction and frivolity. He is so happy to be by the painter’s side, hence he is talkative. He desires to have a real conversation with the painter. On the other hand, since the topic of the conversation is revolving around sexuality, it explains why Yoon Seungho is tempting the painter. And we have a similar situation in chapter 70. Therefore there exist so many similarities between these two episodes, which I will now list:

  1. the almost kiss (chapter 16) versus (chapter 70)
  2. A prank: (chapter 16) (chapter 70)
  3. The master’s smile: (chapter 16) (chapter 70)
  4. Two rejections: The silence from Baek Na-Kyum who never answers to the questions from Yoon Seungho, until he is cornered and (chapter 16) versus the removal from his hand and (chapter 70)
  5. The painter’s angry reaction: (chapter 16)
  6. The lord’s pouting face: (chapter 16) versus (chapter 70)
  7. The painter’s head down: (chapter 16) (chapter 70)

The problem is that in chapter 16, the low-born couldn’t value the joke and perceive the lord’s playful personality, as the former was busy fighting against his arousal. He wasn’t immune at all to the lord’s seduction. That’s why we also have a pouty face from the painter in episode 16. And here, we can detect the first huge difference between these two episodes. Because the artist is no longer denying his homosexuality, and as such he has finally dropped the scholar’s doctrines, he is able to perceive the aristocrat’s true personality. He is indeed moved, when he sees Yoon Seungho smiling after playing his prank. He blushes so much that he feels the need to hide his face, hence he lowers his head, while in chapter 16, he had his head down because of shame. He desired to cover his pleasure out of guilt. He was definitely struggling internally. In chapter 70, the artist is more scared of his own feelings for Yoon Seungho.

The other divergence is Baek Na-Kyum’s attitude. This time, he is no longer silent. He talks back, when he hears the main lead calling his sister a wench. He requests respect from the lord. He is confident in his words and behavior. He even gives further explications. Moreover, he is no longer using fake excuses, unlike in the past. He rejects the lord’s suggestion (taking a bath together) clearly and directly without displaying any disrespect. When the lord keeps pressuring him, his justification sounds reasonable.

This explicates why for the second time the manhwaphiles are witnessing a real and honest conversation between the two protagonists. The first time it happened, it was in the bathroom as well, (chapter 26). Yet back then both were driven by negative emotions (anger and sadness) due to their wounds. However, this time it is different. They are both calm and very careful. The two are determined to treat each other with respect. (Chapter 70) In other words, the bathroom is the place where the main leads can be honest to themselves, hence they are genuine to their counterpart. This is no coincidence that the painter was indeed touched, when he reminisced the lord cleaning him. (chapter 59) In this place, there is no rule or social class separating them, they are equal. In the washroom, there’s only purity symbolized by water. I would conclude that they are truly naked physically and mentally. That’s why they can only be honest to themselves and in front of each other.

Another huge contrast between chapter 16 and 70 is the lord’s eloquence. While he mastered the conversation in chapter 16, he reveals his inability to speak properly in episode 70. How do we explain this contradiction? The answer is quite simple. Let’s not forget that in the previous episode, the noble was talking about sex. For he was living like a “man consumed by lust”, his vocabulary was quite rich in that area due to his experiences. However, since he has never had a real partner he could converse with, his true eloquence suffered a lot due to neglect. At the same time, it reveals that his social skills have been overlooked for so long too. This explicates why he has no idea how to convey his thoughts and feelings properly. Besides, the manhwaphiles should recall that the noble had avoided to feel anything and analyze any emotion for so long, hence he still has troubles to voice these. That’s why he keeps calling the kisaeng “that wench” not realizing that he is insulting the low-born’s relative. Nevertheless, in this scene, the noble has no intention to offend anyone, that’s why he is caught by surprise, when the painter retorts that he should mention her differently. His facial expression oozes naivety and shock. He didn’t pay attention to the idiom (“wench”), as all his thoughts were revolving about the painter’s happiness. He just desired to know if he had succeeded: (chapter 63: this is the master’s biggest wish) Astonishing is that the painter is not outraged by the lord’s words, as he has already sensed the lord’s true attention: the artist’s happiness. Carefully, Baek Na-Kyum corrects his master and starts describing his relationship with Heena. Consequently, the lord considers it as a good sign. Their bond has not been too damaged. Despite his mistake, the low-born is interacting with him. That’s why he takes the painter’s hand. He has the impression that the artist is opening up, hence he starts conveying his own thoughts too. The problem is that when he says this , he makes a huge mistake again. However, his words cause the painter to remember how the lord treated him in that room (chapter 66). The artist has no idea that Yoon Seungho is referring to the flashback. (chapter 66) Nonetheless, due to his mistake, Baek Na-Kyum retrieves his hand. The reality is that Yoon Seungho was attempting to show his concern and his remorse. Unfortunately, he chose the wrong diction, thereby his thoughts were not expressed properly. Moreover, I would like the readers to keep in mind that the lord has never apologized before. First, as a noble, he was never asked to apologize to a commoner. Secondly, it is related to his own trauma. The main lead associates the apology to fakeness and hypocrisy due to the butler, who keeps repeating these words (chapter 25) (chapter 65). Besides, the painter also apologized once, and back then, he was not really sincere too. (Chapter 11) This explicates that he misjudged the painter’s apology in chapter 62. Moreover, exactly like in episode 11, the painter had selected silence over giving a proper explanation. As you can see, silence was another reason why the couple had such huge issues in the past. It generated doubts and increased insecurities. However, in chapter 70, silence is barely present. (Chapter 70) Both are communicating verbally in all sincerity. In other words, this panel represents the first step for the lord to apologize. Nonetheless he has to learn how to convey his regret perfectly. Hence this is understandable that we can’t expect him to voice this apology yet. As a conclusion, his poor social skills and lack of articulation mirror Yoon Seungho’s true personality.

The powerful noble detects the change in the painter’s behavior, the latter acts exactly like in the beginning (chapter 5, 8, 11, 16). He speaks his own mind now without being disrespectful. This encourage the lord to step up the game. Even if he made a mistake, the artist forgave him. Yet there’s no doubt that the lord must have felt a little insecure before confessing his true thoughts. Therefore Yoon Seungho takes the painter’s hand and touches the fingers very tenderly. In my opinion, the skinship serves as support. The master is not just wooing the low-born, but also he desires to voice his emotions. He would like to expose his concern and affection, yet like I exposed above, he fails due to the wrong selection.

What caught my attention is that unlike in chapter 16, the noble tries to determine the reason for the artist’s rejection. (Chapter 70) Imagine, before he never showed any interest why the commoner refused to paint for him. (chapter 1) This exposes the huge transformation of Yoon Seungho. Now, he would like to be judged differently. He has already realized that he will never achieve his goal (being loved), if he is still full of insecurities and self-hatred. Nonetheless, his selfishness is still present in the bathroom, because he can’t bear being pushed away again. This interpretation is exposed with the number of white candles. Note that on the lord’s side, there are just 2, while on the painter’s side the beholder can count three. The number 3 symbolizes harmony, completion and wisdom. This observation leads me to the deduction, the aristocrat’s transformation is not completed yet. This explains why he plays a trick by dragging him into the tub. The prank is the perfect solution in order to pursue his dream without becoming forceful or frightening. Moreover, note that he refuses to act like a master by giving him an order. From my point of view, the noble’s tone has changed. Not only his gaze but also his gestures have already softened.

Moreover, both keep looking at each other during this conversation, whereas in the episode 16 there was no eye contact. Only the lord was looking at the painter, (chapter 16) while the commoner’s gaze was fixated on the drawing as an excuse, until he was forced to look at him.

As a conclusion, for the first time both protagonists are following the 10 golden rules of communication:

  1. Be warm and attentive
  2. Show you are listening
  3. Check understanding
  4. Be slow to pass judgement
  5. Use silence appropriately
  6. Convey messages in a clear and effective manner
  7. Use clear and unambiguous language
  8. Use non-verbal methods of communication
  9. Use repetition The caress serves as a mean to confess his love towards the artist.
  10. Check understanding quoted from

From my perspective, the prank played a huge role in truly breaking the ice between the main characters. Because he didn’t succeed to reveal his own thoughts and emotions properly, he had to find a new approach. That’s why he suggested the bath. In his mind, if the artist recognized that they were just two naked bodies, the distance between them would vanish. This means, that the moment the painter decided to stay at the mansion, the lord’s second dream (“to share what’s on their mind”) got revived. He was once again full of hope, that’s why he felt the need to touch the painter. He wanted to share his feelings and thoughts. Unfortunately, the low-born rejected the offer, which is also comprehensible. We have to imagine that with this proposition, he could just intimidate the commoner. If the latter had to undress himself, in Baek Na-Kyum’s eyes, there was a high chance that the noble would have asked for a physical intimacy… and we shouldn’t forget that he had just experienced a rough sex marathon the night before. Therefore he couldn’t accept the suggestion. On the other hand, the lord couldn’t stand a rejection either. That’s why he had a pouting face. And just like a child, he decides to play a prank. The painter might yell at Yoon Seungho, however there is no real resent. Besides, contrary to the past, he doesn’t say no, he just scolds the noble. That’s why his feelings switch quite quickly. Through the joke, the seriousness has literally vanished. At the same time, the readers are finally able to witness the noble’s genuine laugh: I believe that for the first time, the low-born is able to detect a new side from the aristocrat. Imagine that the artist could not only make the noble laugh, but also smile. That’s why the painter can no longer reject the lord, as his fear is slowly disintegrating. Note that he doesn’t reject the kiss from the aristocrat. What I love in this panel is that the lord’s eyes are closed, illustrating his leap of faith. He chose to trust the artist blindly. Simultaneously, the manhwaphiles can detect a certain shyness in Yoon Seungho. His ear is red exposing the slow rebirth of the protagonist.

Another contradiction between the chapters 16 and 70 is that the seduction is not focused on sex, but on love. This signifies that the “corruption” from episode 16 has disappeared. We are truly witnessing a scene exuding pure affection and warmth. He is here courting the painter, hence there’s no real sexual desire in the tub. The skinship is full of sensuality and tenderness: a caress, a kiss and the beginning of an embrace. The master’s second wish is gradually coming true. The lord is putting his guard down for real in chapter 70. That’s why he is completely naked: he has no green robe and no headgear as well. He has finally become a real human. He is no longer a ghost or vengeful spirit, only an innocent teenager discovering real love for the first time, whereas in chapter 16, he was behaving as if sexuality was quite new.

But since my topic is “prank”, I would like to point out that the main lead played another prank in chapter 36 exposing his cheerful personality. Nevertheless, back then, there was only silence, because the butler had warned the artist not to irritate the main lead. According to him, he was in a bad mood, which was untrue. (Chapter 36) The noble had regained hope due to the painter’s genuine reactions (his shyness, blushing and his mention about the painting). And this truly exposes the valet’s evilness in the end. He made sure that both wouldn’t get close in reality by hindering a real conversation. For that, he utilized sex. That’s why he let the painter drink an aphrodisiac. He knew that the moment, the lord would notice the erection, the main lead would be attempted to have sex. For me, there’s no doubt that Kim made sure that the lord’s deepest wish wouldn’t come true: an exchange of thoughts, a real intimacy. This explicates why the prank played by the noble failed in this scene. (Chapter 36) With this joke, he wanted to initiate a conversation, but unfortunately he saw the erection. Yet, the valet’s trick didn’t work completely either. Note that during that night, there was no sexual intercourse, just a fellatio. We shouldn’t forget that during that day, the painter was still feverish which the noble had noticed. So envision what would have happened, if the lord had engaged a second sex marathon. Therefore, I believe that in chapter 70, the valet is hoping that the noble will behave like the previous night, so that the painter’s health condition deteriorates more, or the artist gets scared and changes his mind to leave the mansion.

However, let’s return our attention to the joke played by the main lead. The “prank” helped him not only to shorten the gap between them, but to externalize his thoughts more accurately. Note that right after laughing and smiling, he is able to express himself more properly.

After playing the joke, he is truly more relaxed, yet there is a certain timidity as well, for he tries to hide his laughing face and smile. Initially, he has his head down and later he even puts his hand in front of his mouth. I have to admit that his smile followed by this gesture affected me the same way than the painter. He is definitely seductive and charming here. And now you comprehend why the artist reacts the opposite from chapter 16. He doesn’t say no or runs away. He remains immobile listening carefully to the lord’s words and sensing his caress on his chin and lips. The words accompanied with nonverbal communication are finally reaching the low-born’s heart and mind. He finally realizes the truth in the lord’s confession. This leads me to the conclusion that Kim’s plan is not going to work again. There won’t be any sex during the next night, but a new physical intimacy: (chapter 38) (chapter 50): caresses, embrace and kisses, the symbol of harmony, love and sincerity.

After comparing both episodes, the readers realize the importance of the joke made by the main lead. However, in my introduction, I had explained that all the chapters ending with a 6 contained pranks. We shouldn’t forget that some people are justifying their misdeed by downplaying it. Remember that in chapter 47, Deok-Jae defended himself (chapter 47) by saying that he had just made a prank. But now, you will wonder where there was a prank in chapter 46, 56 and 66.

  • chapter 46: (Chapter 46) Deok-Jae destroyed the painter’s snowmen. There is no doubt that he would have replied the same, if he had to answer for his behavior.
  • chapter 56: Jihwa faked a letter in lord Song’s name. (Chapter 56) He knew that this would hurt the noble, yet note that he felt no remorse and blamed his childhood friend. However, like I pointed out, he was impersonating a person. If asked, the childhood friend would have used a similar excuse. That’s why Yoon Seungho answers in a quite similar way: he calls him “lord song”. However, he pushes him.
  • chapter 66: When Jihwa revealed the abduction (chapter 66) , he implied with his words that Jihwa played just a prank, since the painter returned alive. Yoon Seungho shouldn’t just get angry, because it was just a joke. As you can observe, all the misdeeds are reduced to a joke. It was, as though they had done nothing wrong. However, the intention is definitely different: the perpetrators intended to hurt the protagonists. And this is not surprising that the chapter 36 contains both pranks: Kim drugged the painter against his will, while the joke from the noble was harmless. And in my opinion, the episode 70 contains both pranks as well. Kim was the one who sent the painter to the aristocrat. Why do I believe this? The reason is quite simple: the servant leading the painter to the bathroom is portrayed with no eye (chapter 70) and is carrying a lamp similar to Kim’s (chapter 36). And remember that this chapter is a new version of chapter 36. In that episode, the valet was the one who brought the artist to the lord’s chamber. Moreover, the way the door is shut clearly exposes a certain violence. (Chapter 70) Besides, the domestic is also urging the painter to join the bathroom. From my point of view, the domestic wants to make sure that the artist arrives, before the lord leaves the bathroom. Moreover, the lord’s expression in beginning is not quite welcoming. So I am more inclined to think that Yoon Seungho didn’t plan it that way. And remember my explanation after the first sex marathon. The butler had placed the painter in the lord’s bed (chapter 33) (chapter 34) in order to incite the latter to have sex with the commoner. Imagine, he had just regained consciousness, therefore this trick could have cost the artist’s life. And we shouldn’t forget, the butler witnessed the second sex marathon. He even viewed the flashback from the painter. Therefore in my opinion, the butler is hoping with his “prank” that the lord will act like the previous night. Furthermore, I would like to point out the presence of domestics in chapter 16 and 36. We have Deok-Jae who spied on the couple and manipulated the butler to open the door [theory confirmed by the author herself]. Then during that evening (chapter 36-37), Kim tried to stop Yoon Seungwon from entering the room. (Chapter 37) Hence this means, he was paying attention to what was happening in the bedchamber. What caught my attention are the following panels: Why did the author show the window or door?

Since there’s no coincidence, this indicates that a servant is spying on them, listening to their conversation. Why? It is because the next prank is already planned: (chapter 69) Since Kim got caught disobeying his master, he needs to lie low. On the other hand, he needs to be updated. That’s why he is now using other servants as his spies. There’s no ambiguity that the servants, manipulated by the butler, must resent the low-born. He caused them another trouble. But the reality is that these tricks are no jokes but crimes. That’s why I feel that after the second abduction, there will be a purge among the staff. The ones who followed the butler’s instructions will definitely suffer. (Chapter 69)

And this outlines that Yoon Seungho has a different personality from them. He is never diminishing his wrongdoings, and his pranks are real ones. The problem is that he can’t remain as an innocent child, since he told the painter, he would become responsible for him. As an adult and lord, he should be able to protect his loved one and anticipate his enemies’ moves. At the same time, each “prank” organized by the butler, Min and Jihwa always backfired on them and brought the protagonists even closer to each other. That’s why this is not surprising that all the pranks are connected to the number “6”, because this number signifies harmony, love and sincerity. The villains helped the relationship between Yoon Seungho and Baek Na-Kyum to improve.

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

Painter Of The Night: How strange…🤔🧐 (second version)

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

It would be great if you could make some donations/sponsoring:  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 have to admit that when I read the chapter 50 for the first time, I was quite confused. Why would Yoon Seungho rush to the teacher’s bedchamber with a sword? Why would he comment „How strange…” at the end? (chapter 50) I tried to find answers by speculating. However, my assumptions were totally wrong due to the lack of information. Only time and new chapters helped me to understand the story much better. Thereby I could better anticipate its progression, and comprehend the reasons for the characters’ actions. Due to the constant examination, I made the following observations:

  • The story keeps repeating itself, as it is constructed like a kaleidoscope, hence we always have reflections in the characters’ words and behavior.
  • Each incident happens twice: two door incidents (16; 43); two sex sessions at the pavilion, two slaps; the incident with the sword/knife (1, 18: two servants are stabbed/26, 35) etc.
  • Each action from Yoon Seungho will be copied by the painter, or it is the reverse: Yoon Seungho caresses Baek Na-Kyum‘s cheek (18, 50), the artist reciprocates the same gesture (55, 59). What caught my attention is that each stroke on the cheek was never truly perceived by the recipient. The protagonist was either sleeping or too shocked by an incident, so that they couldn’t detect the gesture. They missed the genuineness and warmth coming from the other protagonist.
  • All the characters have reflections with others: Jihwa versus Baek Na-Kyum, Heena noona versus father Yoon; Nameless versus Kim; Jung In-Hun versus Kim but also Min and father Yoon, Baek Na-Kyum versus Kim etc. The latter is also a water element, exactly like the artist. Therefore he is often seen with a bucket of water (chapter 33) (chapter 56), and there’s always a drop of sweat on his face. However, if you pay attention, you’ll notice that the valet is never seen washing. He carries the bucket around, and that’s it, which stands in opposition to Baek Na-Kyum. The latter cleans his own underwear, but also the protagonist’s face (chapter 55).  

Yet I still had no idea what truly triggered Yoon Seungho’s anger and frustration in chapter 50. And then, while analyzing the chapter 16 in connection with the essay entitled “Desires and communication”, I made this discovery: Yoon Seungho used the same expression there: (chapter 16) Here, he was wondering how the painter was able to create the painting, while he didn’t seem to look at them the whole time. What caught my attention are two elements:

  1. The painter was actually watching, without giving the impression, he did. Yoon Seungho’s words imply a certain deception.
  2. Simultaneously, they outline a contradiction. He was not looking, yet he could recreate the position perfectly.

The noble didn’t realize that during the sex session, Jihwa described the scene to attract his friend’s attention. That’s the reasony why the artist could create the painting, as he listened to the aristocrat’s words. In other words, he was spying on them by listening to their conversation. Since there is the same expression in chapter 50, this means that the latter is a reflection of chapter 16. The manhwaphiles should remember that we have a sex session during that night. (chapter 49) The painter expressed his thoughts: he only saw the noble as a sex toy, the main lead was the one who should give pleasure to Baek Na-Kyum. Yet despite the hurt, Yoon Seungho was willing to accept this situation. They would no longer exchange their thoughts and emotions. He was already lowering his expectations. At the same time, he couldn’t help caring for the low-born. He caressed his cheek and kissed him gently at the end. (chapter 50)

Since I explained that the expression “how strange…” was connected to deception, contradiction and spying, I recognized that something similar must have happened during that night (chapter 50). Besides, we also have a time jump. Suddenly, there’s morning, and the lord has rushed to the scholar’s room with a sword. (chapter 50) And this scene reminded me of the main lead running to the scholar’s room in chapter 28/29, after witnessing the artist’s desertion. There was a time jump as well. Therefore I came to the conclusion that the night in chapter 48-49-50 has the same importance than the night with the forced sex and fellatio. This explicates why the lord has a sword again. Back then, he took the weapon due to his jealousy, hence we can definitely conclude that he is angered again due to the return of his jealousy. So chapter 50 was not only a reflection of the episode 16, but also of the episode 28-29.

Because of the connection with the painter’s escape and the incident with the opened door (chapter 16), I couldn’t help myself linking the chapter 50 to Kim and his actions in the shadow. Like I have already pointed out, Kim was observing the event of the night (25-26-27-28) in order to ensure that the protagonist wouldn’t cause too much trouble. Moreover, the manhwalovers should recall that he played a huge role in the low-born’s escape. While Deok-Jae informed Baek Na-Kyum about the scholar’s whereabouts, we have to imagine that the teacher must have talked to the butler about the destination of his trip. Jung In-Hun will always choose to talk a domestic closer to the master than to a simple guardian. Besides, Kim was the one who brought him to his room and the library (chapter 7). Therefore I am quite certain that Jung In-Hun must have mentioned to the valet where he was going. Consequently, I came to the following observation: the butler must have monitored Yoon Seungho and Baek Na-Kyum during that night (chapter 48-49).

From my point of view, Kim was standing behind the door, and he must have heard the low-born’s words.(chapter 49) , reminding us of the “spying” in chapter 16 (listening to their conversation). Because the confession gave the commoner the upper hand in the relationship, and the main lead had not protested, this meant that Baek Na-Kyum was getting closer to Yoon Seungho. He was almost on the verge of becoming the official partner, while the protagonist was resigning to his fate: he would never be able to converse with the artist. Since I demonstrated that the butler was spying on them in chapter 58 (chapter 58), as the presence of the butler is perceptible through the bucket of hot water and the readers can hear the low-born’s moaning, we have another clue that the valet was listening to their conversation in chapter 50.

In my perspective, the butler had every reason to spy on them. First, the invitation to share his meal with the artist was already announcing that the latter was getting more and more favored to the point that he was almost treated as the noble’s official partner. And now, you understand why Kim revealed the incident between Jung In-Hun and Baek Na-Kyum the next morning. He needed to separate the couple, and he used lie by omission and truth in order to achieve his goal. But this doesn’t explain why Yoon Seungho who was tender and humble during the night became a wounded fury the next morning. The hanbok clearly indicates that the protagonist’s heart is bleeding. (chapter 50) What had triggered his fury and jealousy?

For we have another incident with the sword in the first season (chapter 35), where Kim manipulated the master to witness a conversation between the teacher and his former pupil, in order to provoke his jealousy. We have to imagine that in chapter 50, the butler made a similar move. He let the main lead discover something reminding him of the painter’s love for Jung In-Hun. We have three possibilities: he let Yoon Seungho see

  • the scholar’s poem
  • or the picture of the teacher’s inauguration
  • Deok-Jae’s insult: Baek Na-Kyum was a whore so that Kim could bring up the conversation in the library

What caught my attention is this panel: (chapter 21). The paper in the book is very similar to the poem in chapter 4. Remember the theory I exposed in the essay “hypotheses about the second season”: Yoon Seungho had not returned the original poem, but given the artist his own poetry. So if he didn’t give back the scholar’s poem, then what did he do with it? I doubt that he would have kept it, hence I deduce that he must have asked his assistant to throw it away, exactly like the painter in chapter 44. However, Kim must have read it and kept it, well aware that this could be of use later. From my point of view, the butler must have entrusted it to the teacher with the hope that he would leave the mansion. And I can imagine that when Jung In-Hun left his room, he didn’t take it with him. That’s why it ended up again in the butler’s hand. However, if the lord discovered that the poem had not be thrown away, he would have realized that Kim had disobeyed him. That’s why I came to rule out the first possibility.

So what about the second possibility? Since the painting with the scholar appeared in two chapters during the first season (41-44), the readers should expect that this picture will be used twice during the second season. Because I already exposed that Heena noona recognized the painter’s presence due to the inauguration painting (chapter 65), it is definitely possible that Kim planted the picture in such a way that Yoon Seungho’s jealousy would get triggered, a new version of the panel from episode 41. Let’s not forget that the aristocrat was not present, when Baek Na-Kyum decided to discard the drawing. Kim was quite clever with this move. As he knew that the noble had now just a purely physical relationship, he could only get infuriated, when he saw the picture. He had already sensed the painter’s admiration in the drawing: the image oozes pure adoration and spiritual admiration, something Yoon Seungho has always been longing. Hence the noble could only get wounded with this terrible experience. I can imagine that Kim could have praised the picture in front of his master (a new version of chapter 44), then added that Baek Na-Kyum had trusted him with the picture to give to Jung In-Hun. Kim hoped with this intervention not only to separate the couple, but even to have the painter killed by the main lead, a new version of chapter 35. But what he didn’t expect is that the noble would rush to the teacher’s room, and not to the study. However, his delay could be explained differently. He had been busy giving the sentence to Deok-Jae, the straw mat beating. And this leads me to the following observation: denunciation. In chapter 28, Deok-Jae covered up for Kim’s betrayal, for he hoped that Kim would come to protect him. (chapter 28) Observe that Deok-Jae’s treacherous action in chapter 47 (the spoiled rice) had not been exposed to the lord! Thus I am deducing that Kim must have tattled on Deok-Jae about the insult, and told to the vicious servant that Baek Na-Kyum had complained to his lover! He had denunciated him! This would also explain why Deok-Jae resented so much the painter later. (chapter 51) The man believed the butler, because he had not covered up for him about the prank with the spoiled rice. Finally, I discovered that this expression “how strange” was used by someone else: (chapter 37) It was the fake servant who had mentioned the purge! This means that someone had betrayed the Yoons, tattled on them! As a conclusion, the expression “how strange” is connected to denunciation and deception! I have two other evidences for this interpretation. Jihwa had also spoken like that, when he had heard from the amateur spy that his master had a change of heart! Here again, we have spying activities and denunciation. (chapter 13) Finally, observe that in season 3, Baek Na-Kyum is portrayed and stigmatized as a traitor. (chapter 91) The maid’s statement (“I’m surprised…”) truly exposes that the painter had such a reputation among the staff. The so-called treacherous nature of the painter served as a justification for Kim’s punishment. The butler’s kindness had been used against him. He had been sentenced to the straw mat beating, because he had allowed the noona to enter the mansion for the painter’s sake! In that scene, the maids had been tasked to leak a certain information to the couple: the existence of the kisaeng’s letters. That way, the painter could accuse his lover of his deception. He had kept away the letters from his noonas. However, the separation didn’t take place, because the painter didn’t hear the comment from the maid. He was no spy! (chapter 91) But Yoon Seungho is one, for he is the surrogate son of the butler… who listens to conversations in the shadow! (chapter 77) His presence was undetected in the courtyard, until Bongyong wounded the painter. Here, he came out of the shadow! (chapter 78)

Under this new light, it becomes now understandable why Kim decided to reveal the incident at the library to his master. (chapter 50) That way, he could separate the couple. Due to their last sex session, he had discovered that the protagonists were getting closer to each other. He made sure to utilize Yoon Seungho’s hatred for prostitution. And keep in mind observations with the comment “How strange…”: we had spying, deception, contradiction and denunciation. The spiritual love stands in opposition to prostitution.

And now it becomes more understandable why Yoon Seungho had a relapse. How strange is it that the moment he gets closer to the painter, he experiences a setback? No, it is, because there is someone interfering in his life. Kim was determined to sabotage their relationship, he didn’t want the painter to become the lord’s official partner. But what was his motivation? First, it was to preserve his own position, for he is the unofficial lord of the mansion. Secondly, he could justify his action by saying that he was helping the mysterious “lord Song”. The latter is supposed to be Yoon Seungho’s unofficial partner. That’s the reason why Kim kept calling Baek Na-Kyum a favored servant. The butler was hoping that this would fuel Deok-Jae’s jealousy and greed. At the same time, he hoped that Yoon Seungho would get tired of him. However, since time was not helping him, then he needed to take things into his own hands. Yet, for that he could only act in the shadow, exactly like in the terrible night during the first season. And now, the manhwalovers comprehend why there’s the return of the headband in chapter 52. The butler’s scolding in chapter 52 triggered the artist to act like a servant, whereas the butler didn’t consider him as a servant in chapter 23, another evidence for the valet’s hypocrisy.

And now if I examine the last panel again with this new approach, I come to a new interpretation: The lord’s real spirit has not been perceived by the painter yet, just his body, hence he is embodied by a shadow. This doesn’t really represent his true self. Besides, the lord is associated to a shadow, because he is the puppet of his own butler, who keeps working in the dark. At the same time, he is a shadow, for his fate is to learn from his surrogate father, Kim’s spying activities. He hears conversations behind the door (chapter 68) or the window. This is important, because that way, he is getting prepared to fight against his biggest opponent, lord Song who stands behind Kim. However, there exists one huge difference between Kim, Yoon Seungho and Baek Na-Kyum. The protagonists are no secret agents, they are both detectives. They want to understand their partner and their past, but since both were victims of crimes, this means that their role is unveil the truth so that both can get justice.

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

Painter Of The Night: Desires and communication 📲 (second version)

This is where you can read the manhwa. 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:

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

1. The significance of communication

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

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

2. Communication and relationship

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

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

3. Words, sex and its impact on relationship

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

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

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

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

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

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

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

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

4. The first real conversation

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





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

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

5. The secret meaning of „no“

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

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

6. Yoon Seungho‘s desires

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

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

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

7. Kim as a fake mediator

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

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

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

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

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

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

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

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

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Tumblr-Reddit-Instagram-Twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: A man consumed by lust

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

Feel free to make some donations/sponsoring:  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas.

I would like thank Luzy again for her observations, because her comments inspired me a lot.

What caught my attention is the idiom employed by the painter to describe the wealthy main lead: a man consumed by lust. These words were pronounced, when the commoner criticized the main lead for mocking the poor quality of the poem. Since he was just a man obsessed with sex, he had no right to make fun of the poetry and author. He was worse than Jung In-Hun in his eyes, as he lived in debauchery. Striking is that the low-born kept seeing the lord that way until chapter 47: (chapter 48) But strangely, the main lead never realized it, until each time the commoner had to externalize it. How did he not see it before, and how didn’t the noble recognize that the artist hadn’t changed his perception about him in the second season? Thus I will try to answer these two questions in this essay.

I had exposed that Yoon Seungho feared his own image due to his self-hatred. Consequently, it meant that he had to rely on others to get a reflection about himself. However, we have to imagine that neither Kim nor Jihwa nor the other nobles gave him a honest portrait. They had no interest to reveal that he was a man obsessed with sex. Why? It is quite simple. Yoon Seungho’s mansion had become the kisaeng house for sodomy, and Yoon Seungho was the head-kisaeng. If you read the story from the start again, you’ll detect how the main lead is actually disrespected by his peers the whole time. Jihwa enters the lord’s mansion unannounced on multiple occasions (chapter 5here, no servant is sent to announce the noble’s arrival, which is quite rude; chapter 10, chapter 12, 17, 43). He acts, as if he owns the place. Moreover, the noble with the mole requests from the host to send away the artist (chapter 8). He acts, as if he had a saying in this, nevertheless he is just a guest and not the owner of the house. Moreover, he requests the whole attention from the main lead, as though the latter had to follow the guest’s desire. . No wonder, Yoon Seungho got infuriated and ejected the man. The painter’s presence revealed the disregard the noble had for the host. Striking is that even after getting dragged by the topknot, the aristocrat demanded an explanation for this humiliation. He didn’t realize his wrongdoing. This is not surprising that the Joker’s friend noticed the change in the protagonist. (Chapter 8) For the first time, the protagonist didn’t allow his peers to look down on him and requested more respect.

In chapter 19, Min invited himself at Yoon Seungho’s house in order to taste the expensive wine. (Chapter 19) He imposed himself upon the main character, yet Yoon Seungho didn’t feel upset. In fact, he just accepted the suggestion by a silence. It was, as if the protagonist was not allowed to refuse the invitation. More surprising is the place where The Joker suggested this: the brothel, an indication that the Yoon residence is considered as the noble kisaeng-house. I would even say, his mansion is the real place for pleasure and vices. And now, you comprehend why Yoon Seungho was pressured by the nobles in chapter 33. In the past, he would have given in, yet this time he showed them that there was a line not to cross. (Chapter 33) Imagine what would have happened, if the noble had followed their suggestion. The artist would have indeed turned into a prostitute.

From my point of view, the young nobles considered the protagonist as their head-kisaeng, he entertained them and allowed them to do immoral things (sodomy, wine and opium), while they could maintain their respectability and honor. Yet, since a kisaeng belongs to the lowest cast, it signified that the lord could get mistreated, exactly like a kisaeng. Besides, only the lord got the bad notoriety, he was a hell-raiser, because the aristocrats desired to hide behind him. He was their scapegoat and shield for their debauchery. He actually embodied all the vices the aristocrats were doing in secret. And now, you understand why the guest in chapter 53 told Min, he wanted to having fun without ruckus. (Chapter 52) In Yoon’s residence, there was no parent or authority to interfere. This explicates why father Lee blames the main lead for his son’s sodomy. He corrupted Jihwa, while in reality Jihwa treated Yoon Seungho like his possession and his personal concubine. He was the one visiting his place and not the other way around, like a husband visiting his “wife” (chapter 67) explicating why Jihwa could only get infuriated and jealous. The “husband”, treated like a concubine, was unfaithful. The second lead was even perceived by the town folks as the mistress (chapter 45), in other words the mistress of the house (the second definition: a mistress is a person of authority and power). This explains why he could trespass the mansion, like he desired. He considered Yoon Seungho’s mansion as his property, where he could enter at any time.

But if he was the real mistress of the house, why didn’t he stop Yoon Seungho from fooling around with men? Why didn’t he act more responsibly? First, the young man was blind and deaf, hence he couldn’t truly grasp what was going on. Secondly, he was too afraid to confront the friend. Remember that he always played tricks behind the lord’s back. Besides, we shouldn’t forget that Jihwa was himself treated like a servant by Min. If the mistress is disregarded, then the head-kisaeng can only get mistreated. Moreover, the second lead never realized that the nobles’ behavior contributed to the lord’s bad sexual habits. The manhwaphiles should remember that the second lead blamed the main character for fooling around (chapter 57), yet his friend was the one participating to the sex session. At no moment, he reproached him his behavior. In Jihwa’s eyes, only Yoon Seungho was responsible for this due to his past. Yet, he never tried to change the situation. I would like to remind the readers that the origins of Yoon Seungho’s bad notoriety are quite complex. Many people had an interest that Yoon Seungho focused on sex and nothing more: Yoon Seungho (he wanted to hurt his father), father Yoon (covering up his cowardice and own misdeeds), lord Song (making sure that the main lead doesn’t retaliate), Kim (leading a peaceful life and covering up his own wrongdoings), the nobles… and in the end Jihwa. The latter always wounded the main lead by using the past in order to attach the protagonist to him due to his neglecting father. Since the second lead had obtained a certain control over Yoon Seungho, he saw no reason to change. He could outlive his sexuality and have sex any time he wanted. Sure, his dream was to obtain the childhood friend’s love, yet he never saw the urgency, because he believed that time would help him. For him, there was this hope that at some point, the main character would confess. Yet, with Baek Na-Kyum’s appearance in Yoon Seungho’s life, the fragile balance was destroyed due the sex at the pavilion. For the first time, Yoon Seungho felt true desires and pleasure. This detail is important, because it truly outlines that Yoon Seungho was living like a head-kisaeng. He had sex without feeling any pleasure, just to serve others.

And now, it becomes understandable why the noble claimed the artist as his possession in two occasions (chapter 8 and 33). First, he voiced that the low-born would only paint for him. (Chapter 8) He was clearly demonstrating that he would never accept to give up on the painter. Slowly Yoon Seungho started asking respect for himself from others. In reality, he is a noble and he is quite rich through trade. This explicates why lord Min used the wine as an excuse to come to Yoon’s residence. He couldn’t ask the main lead, if he could borrow the painter. Furthermore, this statement and the humiliation revealed that Yoon Seungho was no longer a pushover. Hence Black Heart was more careful around the main lead. From my perspective, The Joker imagined that if the lord got drunk with the expensive bottle, he wouldn’t notice the artist’s disappearance. However, because the wine was stolen, Black Heart couldn’t achieve his goal that’s why he asked for a harsh punishment for the theft. Besides, Yoon Seungho showed no interest to organize a sex session any longer. His eyes were already set on Baek Na-Kyum. Since his initial plan failed, and the lord was no longer organizing parties, then he could only use the sex sessions as an excuse to see the painter. (chapter 33) (chapter 52) Everyone among the aristocrats did see the main lead as a head-kisaeng, who had to please her guests. Thus Byeonduck created such panels indicating that the nobles had always taken advantage of Yoon Seungho. (Chapter 54) They look like conniving creatures. Their wish would get granted in the detriment of the host. And now you comprehend why the lord got so angry, when he saw this. (Chapter 54) It was not just a reflection of his own past as an uke, but he saw his actual reflection. His house was a brothel and nothing more, and his guests were taking advantage of him. That’s why he got so infuriated and evicted the aristocrats. They truly showed no respect to him. It took many months for the lord to recognize this. And now you comprehend why he abhorred the idea of prostitution. He wasn’t even realizing that he was still doing it. Therefore Yoon Seungho could only come to the conclusion in chapter 55 that he needed to confess. First, this night made him realize that all this attempts in the past were to win the painter’s heart. Yet he was well aware that with his last action, he had almost sold his loved one to nobles, thereby the painter could only reject him. Besides, he had another reason to expect this outcome: his self-hatred.

Under this new interpretation, the manhwalovers comprehend why the household had a terrible reputation. (Chapter 29) Since a kisaeng belongs to the lowest class in Joseon society, the servants could look down on their master. Despite his title, he was living like a head-kisaeng, therefore the staff showed no respect towards their lord. (Chapter 32) This explicates why they didn’t follow his order, when he asked them to keep an eye on the artist. Nevertheless, as time passed on, the noble started acting more like a lord, hence the head-maid accepted his reprimand and decided to treat him differently. That’s why she bowed to Yoon Seungho in chapter 46. (chapter 46) And by comparing the two last pictures, the readers con detect the butler’s absence. the latter was responsible for the past situation, because he didn’t want to get into trouble. As long as the lord was acting like a head-kisaeng, providing entertainment for the local aristocracy, the valet could lead a peaceful life and definitely sway his misdeeds under the rug. Moreover, he could even use the master’s authority and act like a lord.

But let’s return our attention to The Joker. When the main lead stated this: (chapter 8), he was looking at Min, for he viewed the noble’s envy in his gaze. Since the artist was not allowed to paint for others, then the only possibility left for Black Heart was sex. If the painter joined their sex orgy, then he could achieve his goal: taste the commoner. Therefore you comprehend why The Joker is determined to kill Baek Na-Kyum. If he kills him, then Yoon Seungho is left with nothing. He is like in the past: he becomes again a “head-kisaeng” with no right. But as you can imagine, the Joker is deceiving himself. I doubt that he would be satisfied with just one session.

The problem was that Yoon Seungho never sensed that he was treated like a prostitute, because they created the illusion that he was the alpha among the sodomy community. (Chapter 33) The lord fell for this illusion, and he would have never realized it, if the painter had not entered his mansion. I also fell for this illusion myself for a while, calling him an alpha, while he was disrespected the whole time. However, this doesn’t mean that the main lead is powerless. He has indeed connections to the government (exactly like the kisaeng-house) and he is definitely rich, because he is a trendsetter. Min keeps copying his clothing and the master’s windscreen is the same at Min’s pavilion and the noble with the mole. That’s why Yoon Seungho never got to see his true reflection. In his mind, he was either busy reading or fighting with nobles, while in reality he was having sex for the most part of the time. Moreover, no one truly gave him a true reflection, since they had no interest to switch the situation.

And this negative reflection is also palpable in the paintings Baek Na-Kyum created, yet curiously the rich main lead never saw this image reflected in the pictures for many reasons. First, his unconscious noticed something else, the painter’s desire, so that the lord acted differently towards the artist. (Chapter 2) Therefore the main lead’s gaze in the picture mirrored the image of a man showing true interest, warmth and beauty. Later, he only got to see the ruined painting, which triggered a huge anger, hence he didn’t pay attention to the image. Then in the third picture, (chapter 16) he was no longer interested in the creation, since Yoon Seungho had already started wooing the commoner. (Chapter 16) Here the second lead was exploring an unusual position. Although the protagonist could have noticed this reflection “man consumed by lust”, because Black Heart commented it as lewd, he still didn’t observe it. His gaze and mind were all focused on the painter and his face. Then in chapter 41, he never saw the multitude pictures of him having sex with the low-born (chapter 41), because his gaze was only focused on the inauguration drawing with Jung In-Hun. (Chapter 41) And the moment the painter accepted him as his sex partner, he showed no interest in the paintings. However, he got annoyed, when he saw the first new creation. (Chapter 47) It was unfinished, and it gave the impression that both of them were acting like whores. That’s why the lord was indeed a little annoyed and made the following remark: (chapter 47) And it is in this chapter that he gets to discover his reflection… or better said, Baek Na-Kyum hadn’t changed his judgement about him, which provoked the next crisis. With the last painting, Baek Na-Kyum reproduced the situation, where the master was focused on provoking reactions in his partner in order to force him to abandon his torpor. (Chapter 52) Therefore the beholder couldn’t detect any love and affection in this drawing, only the attempt to incite pleasure. This explicates why Min described this as salacious, and had the feeling that the commoner was only interested in sex either.

Striking is that in the first painting, Baek Na-Kyum used a big wallpaper (chapter 2), while he only used small sheets of paper later. In my opinion, this is strongly connected to the return of the repressed sexual desires with the low-born. What also caught my attention is when he painted all the situation, when he had sex with Yoon Seungho having sex, the characters have no facial expression. It was, as though the lord was treating the commoner as his sex toy at his disposal. And that’s how the painter explained the rape. (Chapter 41) For him, every action from Yoon Seungho was caused by his obsession for sex, while the lord was trying to win his heart.

And while comparing all the creations, I recognized that they reflect not only his image as man consumed by lust, but also the disappearance of Yoon Seungho’s past life as sodomite and head-kisaeng. First, the huge painting with Jihwa is ruined, exposing that the latter is losing his control over his childhood friend. (Chapter 2) Simultaneously, Baek Na-Kyum destroyed it because of his jealousy (under the influence of his unconscious). The manhwalovers shouldn’t forget that in that wet dream, he wanted to take Jihwa’s place, attracted by the lord’s huge penis. Yet, he justified it with his doctrine. Furthermore, the second painting with Jihwa is created on a small sheet of paper reflecting the loss of the red-haired noble’s influence.

Later, when Jihwa ruined the painting with the threesome, the result was showing that Yoon Seungho’s life as head-kisaeng was starting vanishing. (Chapter 44) from that moment, the protagonist was no longer hosting any sex orgy which led Min to take over this role. Jihwa’s gesture symbolized that the childhood friend was not allowed to fool around with other men. However, he was quickly replaced by the painter. Let’s not forget that in the noble’s mind, Jihwa was just visiting him for his own sexual desires. He never recognized the childhood friend’s feelings. He had no reason to see otherwise, since the second lead treated him poorly. (Chapter 59) That’s why, after having sex with Jihwa, the “head-kisaeng” neglected his guest and went directly to Baek Na-Kyum for the painting in chapter 15, because the noble is already interested to taste the artist. At the same time, the low-born got his first sexual experience with the main lead. (Chapter 25) And here, the lord couldn’t perceive his own image as man consumed by lust, because his gaze was looking at the painter’s expression. This exposed the lord’s desire to see the attraction for Yoon Seungho in the painter’s eyes. His eyes were always focused on the painter the entire time, revealing that he was longing for more than sex. He wanted to see a mutual attraction… in reality, he wished to see a painting oozing warmth and love, exactly like in the publications he bought. And note that Yoon Seungho never got to see the last drawing, because his heart was too wounded by the distance. He hated so much the idea that the artist considered himself as a prostitute, while all this time, Yoon Seungho was just longing for love. Striking is that the ultimate picture is a blank sheet of paper mirroring the transition. (Chapter 65) Here, the lord has finally cut ties with his past. This marks the start of a new life and the painter will reflect his rebirth. But as you can see, the multitude of pictures (chapter 41) only mirrored the painter’s perspective about the main lead. For him, he was just a man obsessed with sex, while in truth he was just longing to get love. The problem was that the protagonist had never been taught how to show love. Furthermore, Kim made sure that the artist would only see this image. That’s why it took Yoon Seungho a long time, before he realized that he needed to recreate the Wedding night, so that the artist would be able to perceive his true feelings. For me, there’s no doubt that at some Baek Na-Kyum will create a huge painting with the main lead, and the low-born will be represented as well. Both will be portrayed with facial expressions exposing confidence and love. I am even predicting that Baek Na-Kyum will paint a new inauguration portrait with Yoon Seungho, which will contrast so much to the one with Jung In-Hun, where the commoner had no face and as such no identity.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My reddit-instagram-tumblr-twitter account is: @bebebisous33. Thanks for reading and 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.   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:

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.

Painter Of The Night: Yoon Seungho’s mouth 👄

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

Since I wrote a long analysis about “Legs That Won’t walk”, this time, my essay related to Painter Of The Night will be short. Nevertheless, I wanted to keep my promise to write each day something about this manhwa.

Now, you are wondering why I am focusing on Seungho’s mouth. The reason behind this is quite simple. I observed something very important while paying attention to the drawings. We have many pictures about Seungho’s gaze and the hands, yet Byeonduck did zoom in different chapters on Seungho’s mouth. All the following pictures have something in common. The reader can only see the protagonist’s mouth and each time, it is impossible to see his gaze. Why did the author focus on the main character’s mouth? This list is what I could gather so far (I might have missed some), nevertheless this selection will serve as an illustration.

We have this image in chapter 4:

In chapter 12, Yoon Seungho is seen threatening the painter.

Then in chapter 16, the beholder witnesses how Seungho is calling Baek Na-Kyum by his name, while whispering into his ear.

Moreover, our main character keeps whispering in chapter 20, when he orders his loyal valet to close the door:

The beholder sees a similar drawing in chapter 35, although I have here to add two other pictures for the explanation.

In chapter 39, we even have two such drawings (here I added the one in the middle for the explication :

If you compare all these pictures together, you’ll note that there exists two kind of zooms focusing on the protagonist’s mouth.

The first one is, when he is talking to Baek Na-Kyum very closely. These mirror the evolution of their relationship. First, in chapter 12, he is threatening the low-born in order to submit him. We can observe that they have a master-servant relationship. Seungho has problems to approach and impress the man, so far Baek Na-Kyum showed a certain defiance in his behavior. Then in the chapter 16, he is whispering his name “Na-Kyum” revealing his intention of being intimate with him. While talking, he is even licking the commoner’s ear in order to arouse him. He is seducing him with his words and actions. Hence we can say that he no longer treats him as his “servant”. In the last one, the characters are kissing each other representing the climax of intimacy. Striking is that Seungho can’t help himself smiling and letting a sound out. He is expressing his happiness. Finally, the painter is no longer rejecting him, he is even reciprocating his kisses and his face is even blushing. So Seungho is finally able to have the man reddened. Each time, he saw the artist blushing for the teacher, he got so jealous and now, he can provoke the same reaction. The sound “pfft” shouldn’t be judged as the protagonist is mocking the painter. He is just showing his joy.

Now, the second kind of zoom on the main lead’s zoom is when he is speaking. These kind of drawings are important because these reflect the moment where the seme is expressing his deep thoughts and emotions. Remember that I said that the protagonist is someone who keeps his thoughts and emotions to himself. The drawings with the mouth only indicate that Seungho is opening up, is voicing his inner thoughts.

At the pavilion, he was actually talking to himself, since he paid no attention to Jihwa. He can’t help himself saying what he is seeing in his mind. He is amazed that he can feel so free… he is liberated from the oppressing and condemning gazes. He is accepting himself because of the painting. It was as if his own gaze from the painting had hypnotized him and helped him to overcome his trauma.

Then in chapter 20, he whispers to Kim to close the door. Sure, he doesn’t want to scare the drunk artist. However, I perceive the whispering, as if he has some problem to reveal his true desires. Here, he has to admit in front of Kim that he wants to taste the painter for himself. In fact, he is giving an order to the butler. Little by little he is opening up, expressing his true thoughts and as such revealing his true personality: his wishes and desires. At the same time, it exposes that the main lead is acting more and more like a lord.

In chapter 35, our protagonist is at his lowest. He could never obtain the artist’s heart and is about to admit defeat. Strangely is that the “camera” is focusing more and more on the protagonist’s mouth. First, with the gaze and after only with the mouth. We can detect here the main character’s struggles. He has problems to externalize his inner thoughts. He has no idea what he could say because he fears the painter’s reaction. That’s why he stops himself, the three dots illustrate his concern. The low-born could reject him one more time. Interesting is that we only hear the seme’s question in the black picture. The author lets the reader vizualize the main character’s shyness. He is expressing himself with great difficulties. It was as if he was hiding himself. But he is able to overcome his fear and shyness hence he asks the painter about the painting. Then in the chapter 39, he has no problem to show his reproach and concern for the uke in front of the servants. Little by little, Seungho is no longer hiding his desires and as such his personality. He starts more and more voicing his true thoughts and emotions.

That’s why we have less pictures with the mouth only. This mirrors his inability to voice himself. However, the readers assist to a transformation of our main character. We have to imagine that this man has lived like a zombie for a long time and was even the master of deception. He never externalized his inner thoughts and emotions. This explains why we have no love confession from our beloved seme. He is just at the beginning of opening up. He hasn’t voiced any inner thought in front of the painter. For that, he needs practice and time.

That’s the reason why my favourite chapter in the first season is chapter 39. For the first time, he shows to his servants that they can’t talk to the artist like that behind the master’s back. He is very protective of Baek Na-Kyum. We shouldn’t forget that he was well aware that his domestics were gossiping about him (Yoon Seungho) but he never intervened before. In the chapter 39, he makes a statement: no one is allowed to gossip about the artist and his relationship to the lord. He was very firm about this. And his words were pretty effective because later, Jihwa’s spy has problems to find out what is happening at Yoon Seungho’s mansion.

chapter 41: the servant can only get info through other persons, Yoon Seungho’s domestics don’t dare to gossip any longer. So when the seme voiced his reprimand, they knew that they could no longer ignore the warning.

Moreover, we have the clothes showing Seungho as a man in love but he is still trying to hide these feelings. Furthermore, we get to see the inner thoughts from the main character with the drawing focused on the hand. (Chapter 39) The beholder can detect his jealousy. Then the “pfft” reveals his ultimate happiness but he can only make a sound. He can’t even say it directly to the painter who has his eyes closed. In this chapter, the master is revealing himself the most. He shows his teasing side and his huge sense of responsibility as well. But this huge step forward can be explained that for the first time, Baek Na-Kyum accepted to share his bed with Yoon Seungho. However, this huge progression is stopped due to the events in chapter 41 and 42. Jung In-Hun did damage their relationship. They might have sex together but I believe that Baek Na-Kyum is not spending the night with the lord, like in chapter 37/38. But for that, Seungho needs to voice his true thoughts and feelings. Maybe the poem (see my analysis about the hypotheses for the second season) will help them to get closer again. Seungho likes poetry and it could help him to externalize his love for the painter.

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