This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
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The 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:
- the almost kiss
(chapter 16) versus 
(chapter 70) - A prank: (chapter 16)
(chapter 70) - The master’s smile: (chapter 16)
(chapter 70) - 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) - The painter’s angry reaction: (chapter 16)
- The lord’s pouting face:
(chapter 16) versus (chapter 70) - 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:
- Be warm and attentive
- Show you are listening
- Check understanding
- Be slow to pass judgement
- Use silence appropriately
- Convey messages in a clear and effective manner
- Use clear and unambiguous language
- Use non-verbal methods of communication
- Use repetition
The caress serves as a mean to confess his love towards the artist. - Check understanding
quoted from https://www.psychologytoday.com/us/blog/hide-and-seek/201207/the-10-golden-rules-communication
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.
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(chapter 31) Consequently in chapter 34, the painter sensed a change of perception about his body after the sex marathon. For the first time, he detected his heartbeat and the butterflies in his stomach, which were triggered by the main lead’s presence.
(chapter 34) The parallels can be observed by the absence of the eyes of the protagonists in certain panels. Compare the picture with the mirror 
(chapter 63) Striking is that the character represented with eyes plays the role of the liberator for his sex partner. Due to the sex marathon, Yoon Seungho had helped the painter to free himself from his torpor, since due to the coercive persuasion, the artist had come to deny not only his sexual orientation, but also the existence of his own body. That’s why he could no longer admire his learned sir like before after the sex marathon. By recognizing the existence of his own body, the painter couldn’t feel the same attraction towards the teacher. And since the sex marathon played a huge role in his healing process, we have to imagine that the sex scene in the barn has the same signification for Yoon Seungho. He is on his way to be liberated from his self-hatred, but as you can imagine, it will be a painful process. Back then, the painter got ill and the lord ran away from his responsibility. That’s why this time, the blinded person will be the one suffering from the sex marathon: he will feel like dying, when he realizes that he wounded his lover blinded by his prejudice and anxieties. 
(chapter 63) He has no guarantee that this is true, and love is like a leap of faith. This isn’t something that you can grasp or see. Besides, he would have no control over him, if he accepts the confession. Loving means taking risks, which is linked to fears. This displays how much the master has been brainwashed. Since the painter disappeared in his mind, he came to acknowledge his father’s doctrines one more time before dropping them completely, when he discovers the truth. 
(chapter 63) 
when his father betrayed and abandoned him. This will help him to forget the father’s gaze engraved in his heart. The latter was full of hatred and resent, which the main lead internalized. And with this new interpretation, the chapter 63 appears in a different light. It gives the manhwaphiles hope. 
(chapter 65)
(chapter 69) He had ruined his relationship with the artist. Because he refused to make the leap of faith in the shed, Yoon Seungho decided to make the opposite choice. He let the painter decide about his own fate, yet he was definitely living in agony. The wounded, fearful and desperate gaze revealed his turmoil. 
(chapter 69) In my eyes, the absence of the lord’s eyes during the night of revelations stands in opposition to the lord’s gaze full of expressions in chapter 69. Note that in that episode, the author always drew his eyes, underlining that now the noble was using his own eyes finally. He is no longer relying on Kim and his information. I was also right that this night would affect Yoon Seungho’s relationship with the valet, yet I didn’t expect, it would unveil his true personality. For me, this second sex marathon was a real eye-opener: it made me recognize Kim’s hypocrisy and cowardice. From that moment on, I could no longer view him as a real father figure.
(chapter 40)
(chapter 62)
, which leads the artist to hurt the main lead as well in chapter 41. 
He rejected his concern and yelled at him. In chapters 62-63, the positions are switched. Yoon Seungho is the one upset and pained, since he is convinced that the artist abandoned him, therefore his anger is aiming at the commoner. Yet, the true culprit of his wound is his childhood friend Jihwa. Simultaneously both have a common point: Baek Na-Kyum gets hurt, because he becomes the target of Yoon Seungho’s anger, while in chapter 40, he is backstabbed by his admired sir and used the master to get some comfort. Yet, the situation is similar, as the real culprits of the wound never witness the consequence of their actions and words. 
(chapter 63) And if we take the chapter 41/42 into consideration, the painter did request that the lord should be particularly rough.
(chapter 42) As you can see, the chapter 40 can not be really detached from the sex scene which follows the teacher’s betrayal. Another contradiction is that the painter is just asking the lord to stop, since Baek Na-Kyum is exhausted, while the aristocrat believes that the commoner is pushing him away, begging him to let him go for good.
(chapter 63) But this divergence comes from the fact that this scene is a new version of the sex marathon, which I mentioned above. Back then, the painter made a similar request. As conclusion, the violence of the sex in chapter 62-63 is strongly connected to an emotional wound, a repetition of chapter 41/42. And in my opinion, the artist understood the situation and the lord’s motivation. Hence he doesn’t feel badly about Yoon Seungho. Notice that the next night, Baek Na-Kyum doesn’t think badly of this sex marathon. 
(chapter 40) 
(chapter 63) What caught my attention is the contrast between the two declarations. While the artist’s feelings for his admired sir seem to be very strong (I adore you), his words don’t really correspond to his affection, because his feelings have already diminished. He did lie to his teacher and protected the main lead in chapter 38. That’s why the “I adore you” should be judged as an exaggeration. It was, as though the painter desired to convince himself and his teacher that he was still attached to him. Besides, he needed to persuade him not to abandon him, after hearing so many reproaches. This observation leads me to the conclusion that Baek Na-Kyum made up his mind to still follow his teacher out of loyalty despite the harshness of Jung In-Hun’s words. On the other hand, the author used a litotes (“I do not dislike you”), implying that in fact his attachment is much stronger. And this is exactly what happens during this scene. Despite the harshness, the painter is forced to question his true feelings for the main lead and recognize them. He is even willing to confess, yet he is stopped. I doubt that Yoon Seungho would have perceived it as a love confession, as he hates meek words. I can use this panel as a reminder:
(chapter 48). Yoon Seungho is exactly like the painter, he loves strong and metaphorical confessions, like “you’ve made me a wreck” or “I will never let you go”. But let’s return our attention the scholar and Yoon Seungho. Both nobles act the same way. Both can’t accept the artist’s declaration, yet their motivation diverges. The teacher finds it disgusting to be connected to a commoner, whereas Yoon Seungho is too afraid of being lied. He has the impression that this dream can never come true. Yet, while contrasting them, we see the painter’s determination who is willing to overlook the reproaches expressed before by both aristocrats. And he remains faithful till the end. That’s why he waited for Jung In-Hun at the gate in episode 44. 
He needed to see with his own eyes, how the learned sir had truly abandoned him. This represents another explication why the low-born didn’t react like Kim and Min anticipated. He didn’t follow his sister out of loyalty, compassion and a certain trust. However, Heena noona was able to sow seeds of doubts. 
(chapter 40) In this picture, the scholar leaves the painter behind, a metaphor for his abandonment. He even repeats this action, when he leaves for the capital. In chapter 62-63, Yoon Seungho sees in the commoner’s escape a rejection and betrayal. 
(chapter 62) This panel illustrates the thoughts of the protagonist: the commoner has turned his back on him.
(chapter 40)
(chapter 40) 
(chapter 62) 
(chapter 63) In both cases, the aristocrats questions the commoner’s motivations for his actions. While Jung In-Hun’s interrogation serves him as an occasion to break his promise by putting the blame on Baek Na-Kyum, the other character is more curious to know about the reasons for his desertion. From my point of view, this shows the noble’s desire to comprehend the painter better. And this illustrates that his obsession with the “why” is well meant. Why is he pushing him away? If he knows the cause, he could find a solution in order to bring the painter to his side. 
(chapter 40) The painter became happy, when he heard that the civil service examination would take place soon. He immediately thought of his learned sir and envisioned that this would please his former teacher. Jung In-Hun’s excitement became the painter’s joy, this is how the painter was thinking in that scene. 
(chapter 40) 
(chapter 29) By contrasting both panels from chapter 40, the readers can detect the painter’s lie. He expects something from the low noble. He is indeed hoping that Jung In-Hun will keep his promise and he will take his responsibility for him, since the painter supported him. 
(chapter 40) The former had Yoon Seungho’s attention all the time, and we all know that Jung In-Hun’s desire is to get attention and admiration. Striking is that the comparison enlightens the materialistic and narcissistic side of Jung In-Hun, while Yoon Seungho appears purer. He is just content with a smile. Besides, he would like to be the source and recipient of Baek Na-Kyum’s smile, whereas the other wishes to get favors (clothes, a room closer to the lord’s chamber, the favor to spend the evening in the bedchamber etc). That’s why by contrasting both chapters, the protagonist’s purity and simplicity become even more palpable, which is hidden due to the violence employed during that confrontation. 
Furthermore, if we take the chapter 41 into consideration, since we have a flashback of the incident at the library,
then the readers can recall that in this episode, Baek Na-Kyum was so heartbroken that he asked from Yoon Seungho to be embraced. He needed a shoulder as solace and comfort. The low-born literally begged him, while crying to be hold in his arms, but the noble didn’t know how to respond to this request.
(chapter 41) He only knew sex. In chapter 62, the lord hold the artist in his arms, only to betray him afterwards. The warmth is faked. 
(chapter 62) Yet, if you pay attention, you’ll observe a second hug in the barn: 
(chapter 40) while in chapter 63, it is the turn of our seme to reveal his expectations and desires. 
,(chapter 62) while the scholar calls the artist a fool
. (chapter 41) He is just jealous, furious and repulsed. Yoon Seungho is seeking closeness and uses sex in order achieve his goal, therefore he is is refusing to stop. He is so desperate to remain intimate with the painter, while the other noble has only one thought: keeping his distance from the low-born. 
(chapter 63) and words 
(chapter 63) have a huge effect on the upset protagonist. They trigger the noble to open up and reveal himself. That’s why the chapter ends with a face to face: the aristocrat is not decided to look at the painter’s eyes directly. 
(chapter 40)
(chapter 62) 
(chapter 62) 
(chapter 71) and Yoon Seungho’s outburst 
(chapter 62) 
(chapter 71) There was a “love confession” in the barn, but the lord didn’t use the typical expression for that: 
(chapter 76). The only problem is that Baek Na-Kyum is still fearing his own emotions for the infamous noble. Therefore he has not confessed yet, which will be the reason why both main leads will suffer again. The painter has just opened up and is not trusting Yoon Seungho entirely. 
(chapter 44) He saw it as a confirmation that the teacher had truly abandoned him, for he never bid goodbye to him. However, now I believe that Kim never informed the artist of the scholar’s departure.
(chapter 44) He just delivered it in delay so that the artist would feel even worse than before. Without the farewell, he could only come to the conclusion that he had been truly abandoned by Jung In-Hun. Yes, the artist didn’t react like the butler had expected. He remained in the mansion despite the gate had been left wide opened. By getting rid of the painting, he was cutting ties with the learned sir. Yet this was a baby step compared to the scene in the chapter 49. Here, he has finally become the master of his own life and fate therefore he’ll live his life the way he wants. He is accepting his homosexuality and as such his sensuality. He views sex as a part of his life. He rejects abstinence and doesn’t view sex as an addiction. 
(chapter 49)
The lord’s thoughts were reflecting the artist’s mind-set. Yet, observe that in this scene, the real “prostitute” was more the lord. Why? It is because the painter had stipulated that it was the noble’s duty to lick him and as such make the painter feel good. Yet, there was a slight difference. A prostitute’s duty is to focus on the client’s pleasure and not on her/his own sensuality. Yet, observe that the noble’s thoughts are revealing that he will make sure that he enjoys their sex/love session too. Since he said that he would let his body lead him and his life, they thought that he was selling his body. But no, here he was saying that he would also pay attention to his own needs too. In other words, he was becoming a libertine, exactly like the painter. Both chose to live as libertines during that night. People would call it: a relationship with no string attached. However, what these readers failed to realize (in my perspective) is that Yoon Seungho and Baek Na-Kyum never mentioned any remuneration in exchange for sex, while it was different in the past (chapter 46). 
In fact, in this image, he was acknowledging his other part: he was a painter.
(chapter 1) I perceive this image as an indication that the artist had dreamed about this love session. Note that all dreams about the painter were linked to sex and love. For me, this picture is a proof that the brothel had nothing to do with it. He was drawing outside and he had no model for such a scene right in front of him. In other words, the child allowed his body (his arm, hand, eye and brain) to take the lead, hence he was able to create such a sensual picture. Even Yoon Seungho wondered how a virgin could produce such beautiful drawings.
(chapter 20) I have always pointed out that Baek Na-Kyum was a homosexual right from the start, which he accepted as something natural. He was also encouraged by his noonas. 
(chapter 87) He saw no crime in it, rather as something lovely and beautiful, hence he never felt the need to hide it. Notice that in this picture, he was creating such a lewd painting 
(chapter 1) where people can behold it, he feels neither shame nor embarrassment. He had no idea that he was violating social norms. That’s why I came to the following interpretation, when the painter said 
(chapter 49) Now, you understand why I was really happy with this chapter. Baek Na-Kyum was slowly returning to the person he was in the past before the teacher and his noona Heena transformed him into a shadow of himself. He was accepting every part of himself: his sexual desires, his sexual orientation and more importantly his work as painter.
By forcing him to drop painting, Jung In-Hun had already ruined the low-born’s life, as painting was a part of his soul. We could say that the low-born was already withering. However, back then Yoon Seungho was not interested in why the painter suddenly dropped his true vocation and why he lied to him too. The lord was more obsessed with the erotic drawings. The cause for this long explication is necessary as with this interpretation, I am predicting what is going to happen in the future. 
Here again, he allowed his body to take the lead, but it was once again behind closed doors and nobody was present. He was hiding again, indicating that he still wouldn’t admit his own sexual desires and his homosexuality. Until now, he had only asked for comfort and love from his counterpart (chapter 20/21 and 41/42). Remember that in the chapter 41, he just asked to be hold and as such, he only wanted to be embraced initially. However, due to his inexperience and pain, he confused love with sex. As you can see, the belief “the body taking the lead” had resurfaced indicating that little by little, the painter was changing. More importantly is that he hadn’t been triggered by an immediate sex session, unlike in the past (chapter 8/9). For the first time, Baek Na-Kyum’s sexual desires had come back to life. Unlike in the past, he didn’t judge the cum as something dirty and filthy. Moreover, Baek Na-Kyum could only ejaculate due to Yoon Seungho’s warmth and love. He had these flashbacks where the lord made love to him. 
Thanks to these two elements (the body taking the lead and Yoon Seungho), he could paint again, however he could just create an unfinished and unrefined drawing because of the image he had of himself: a prostitute. His talents were diminished, even the lord’s influence couldn’t remove the false reflection about his identity caused by the scholar’s punishment. In this scene, we had another confession: Baek Na-Kyum was no longer hating the noble indicating that in the end, he had forgiven him for his wrongdoings:
That’s why his paintings lacked passion and warmth. He was working like a robot. As a conclusion, until the chapter 46, Baek Na-Kyum never considered his “husband” (I am well aware this is not how Baek Na-Kyum perceives Seungho) as his muse. He just used him as his model as he had been forced to or he wanted to smooth his agony. 
(chapter 1) He had no choice. He had to paint erotic paintings. Thus I conclude that the artist couldn’t fully show his true talent and express his passion for painting totally. Yet, his publications were still beautiful, since the lord’s heart and gaze were moved. On the other hand, the noona Heena sent her adopted son to Jung In-Hun, because she feared for her brother. 
(chapter 46) However, I believe that she was acting on the learned sir’s request. She justified her decision to send him away to the teacher, because she knew that by the learned sir’s side, the artist would never outlive his homosexuality. She imagined that the low noble was her son’s source of inspiration
(chapter 46), whereas the artist had other motivation. Therefore she thought that it was for the best, if he was by the teacher’s side. I assume that the teacher wished the low-born by his side for two reasons: money and the prospect to benefit from Baek Na-Kyum’s talent. It is very likely that out of greed, the learned sir desired to sell the painter’s works for his own benefit. But for the artist had been requested to paint these erotic paintings for survival, I come to the conclusion that he had been asked twice to paint erotic pictures. The first time, it was for a precise client, and the second time it got sold among the commoners, which explains why the tailor knew about the identity of the painter. 
(chapter 64) There’s no ambiguity that the scholar’s prospect got ruined, hence he unleashed his jealousy and resent onto the painter, until the man vowed to follow the scholar’s doctrine. The poor man could never tell Heena about the physical and mental abuse, as he had already been abandoned.
(chapter 34) He had to keep his promise to never return to the kisaeng house. I believe that the kisaeng must have used this incident 
(chapter 94) to send her brother away and exactly like in chapter 44, she made sure that the noonas wouldn’t be informed. That way, she could deceive her colleagues. It had been the painter’s choice. 
(chapter 93) For the man was his guardian, the low-born had to accept his situation. But since he was just a low-born, I doubt that he could sleep in the same room than the scholar. From my point of view, he had to sleep outside on the wooden planks, the older version of this scene. 
(chapter 1) Therefore it is not surprising why he didn’t leave the mansion in the end and why he said this to the head-maid. 
(chapter 75) Painting was his passion, and the childhood drawings kept by the noonas clearly indicate that he didn’t paint erotic paintings, since he was a child. 
(chapter 94) He painted animals and as such nature. 
(chapter 2) although he hadn’t created anything for almost one year. From my point of view, this is the return of the painter’s passion. That’s why he paints under trance. Even the master was expecting that the painter wouldn’t be able to produce such a good work right from the start. However, he was proven wrong. Now, I am wondering if this gesture wasn’t the light igniting his repressed sexual desires and as such his dormant talents:
(chapter 1) Sure, the painter’s mind was reminding him that this is filthy and vulgar, yet I sense that this affected the artist’s unconscious a lot. All the wet dreams Baek Na-Kyum had, the seme’s phallus played a huge part. Thus we have such drawings in the fantasies, where the protagonist’s sex is in the center of the painter’s imagination:
(chapter 2) 
(chapter 6) 
(chapter 8)
(chapter 49), it becomes obvious what this confession means. In front of his partner, the artist is declaring that he will use their sex session as a source for his creativity. On the surface, it looked like the painter was using the noble as his sex toy, since the latter is the one kissing, licking him so that he feels good. Hence the latter got upset while hearing this admission. However, the real message is that his interaction with Yoon Seungho will help him to create new paintings. As you can sense, Yoon Seungho is getting closer to his ultimate goal each time. From my point of view, this was only a matter of time, until the painter realized his true feelings for the noble. It would have come much sooner, if people like Kim, Jihwa and Heena hadn’t meddled in his life. From my point of view, when Yoon Seungho was thinking this 
(chapter 94) The painter followed his heart. Observe that the numbers have been switched: 49-94. The mirror effect and in the study we had a reflection too. Both main leads reflected each other’s minds: acceptance of a sexual relationship, but rejection at the same time, no strings attached. 
(chapter 94) 
(chapter 94) So the lord is now associated to the moon and as such to nature. Thus I conclude that the noble will discover the painter’s true talent. From my point of view, his new paintings won’t be just erotic pictures about himself with the uke, but also about nature (animals, plants). The diversity of the topics will increase, yet I am sensing that the pictures will definitely reflect the painter’s love and admiration for the seme. 
(chapter 92) Yes, it is very likely that Baek Na-Kyum decides to recreate this scene, because we could see that Baek Na-Kyum’s heart and soul was moved. A new version of this scene: 
the ” I feel good” symbolizes the climax of his disclosure. Note that “I” and the body “feel good” are what matter to the painter. The noble comprehends the low-born’s philosophy, hence he is annoyed. 
(chapter 49) But the kiss and the caress catch the powerful noble by surprise. These gestures stop him from complaining, because he is surprised by the painter’s initiative. Simultaneously, the kiss reminds him of the first Wedding night. This time, the artist is kissing him and not the scholar, so it is an improvement. He is recognized as his sexual partner. 
. He is even protecting his head. He has never been so close to him before. Despite the hurt, the noble accepts his new situation, unaware that he has come one step closer to his goal. The tragedy was Yoon Seungho had no idea about his real wish. Unconsciously, he desired to be loved by Baek Na-Kyum. This explicates why it took so long for the protagonists to become a real couple. The lord had not recognized the existence of his affection. He thought, he was motivated by his mind, which is here reflected in the study. The reality was that he was motivated by his wounded heart. However, deep down he was lowering his expectations, for he had been hurt. 
(chapter 40)
(chapter 6), as he has been manipulated by the teacher Jung In-Hun that homosexuality is something filthy and immoral.
(chapter 34)
(chapter 26) even if Ian was sexually abused quite often as he spent many years at the Bardis before getting “rescued” by Mr. Raymond.
and the former is even willing to eat his lunch with him.
(chapter 11) Despite the difference, they both have to please their sponsor with their work. If there is disobedience, then there is also punishment: 
(chapter 13) The low-born was about to get the straw mat beating, until the lord changed his mind. However, just like Ian, the young man had been slapped and even pushed by his “sponsor” before. Ian’s suffering lasts much longer because he arrived at the house as a child and he was already a young man, when he was able to leave this hell created by Bardi. 
(chapter 41) He was jealous and annoyed, when he saw the picture of Jung In-Hun’s inauguration so that he failed to see the talent and dedication in this different type of drawing. So there is a certain selfishness in the seme here but I am expecting that this will change. He could have noticed that the low-born’s talent is not just defined by sex and sodomy but his insecurities made him blind in that moment. Yet, this painting has been given to the loyal valet Kim so that it can get destroyed. But I feel that Kim might give it to his master or keep it. I have the feeling that this painting will play a bigger role in Baek Na-Kyum’s career later. 
(chapter 41)
(chapter 35). But what does the window symbolize?
(chapter 5) and it is still there at the end of season 1. 
(chapter 44). It looks like there wasn’t much progression, yet this time, the painter walks towards his mansion and remains by his side.
This is important, because I realized that with the vanishing of the learned sir, Yoon Seungho chose to remain in the lord‘s bedchamber. What caught my attention is that the lord always went to the courtyard because of the admired sir. We have two chapters for this interpretation: chapter 7 and chapter 35 
. What caught my attention is that when the lord visited the scholar for the first time, both were sitting in front of a door which looked like a window at the same time. 
(Chapter 7) This is not random at all, as from my perspective, it introduces the role played by Jung In-Hun in the main lead‘s life. He will be the one forcing the lord to move away from the window so that he can leave the bedchamber. Thus we had this scene: Yoon Seungho is observing the learned sir and his student from far away. 
(Chapter 19) This explicates too why the noble remained so passive in season 2 in the end. Baek Na-Kyum was the lord‘s love interest, hence his „place“ is the bedchamber. So how can the lord move away from the window and as such from the bedroom? Jung In-Hun is the trigger. And note that only in season 2, we discovered how the learned sir used walks through the countryside to console the painter. 
(Chapter 70) Finally, the main lead organized a hunt for the first time because of his honored guest. 
(Chapter 22) And if you recall the lord‘s behavior, you will notice that he left the city for the first time, when he wanted to meet the scholar. 
(Chapter 6) He encountered him in the woods. Under this new light, it reinforces my conviction that the learned sir‘s death will be the lord‘s motivation to become proactive and leave his past behind. Why? It is because of the painter‘s words. 
(Chapter 94) The painter still respects the scholar, but he already loves Yoon Seungho. He is not disloyal towards his former teacher despite falling in love with the protagonist. With the last incident, Yoon Seungho got aware how much the painter means to him, but at the same time, he realized the importance of the learned sir in Baek Na-Kyum‘s life. He needs to answer his question: 
(Chapter 102) And this question is strongly connected to the scholar, for the main lead was first sent to Jung In-Hun‘s home. 
( 100) Don‘t forget that the main lead saw the room covered in blood, though the latter had already dried. To conclude, the main lead was encouraged to walk thanks to the scholar, and as such to leave his window! 
(Chapter 100)
(Chapter 44) It was the painter’s role. This signified that he was still trapped by his past and trauma, something that he hadn’t revealed to anyone. Since Yoon Seungho is still inside the room smoking in front of the window, it reveals that the lord had not really let go of his past at all, he had not expressed himself in front of Baek Na-Kyum yet. If he reveals his inner feelings and thoughts, this means he will disclose his secret and unveil his vulnerability. This explains why there was no confession from the noble’s side for instance [there were other reasons why he hadn’t confessed anything too], why he was still not sharing his inner thoughts and emotions to his partner. 
(Chapter 37)
(Chapter 102) This signifies that Yoon Seungho will act differently in season 4: he will be proactive. Like I mentioned in the essay „Scandal(s) in Jemulpo“, he will become the scholar’s disciple and follow his footsteps: ruthless, but also caring and gentle. The only difference is that his affection for the painter is genuine. 
(chapter 10),
(chapter 12)
(chapter 20)
(chapter 29)
It is still the same. Despite getting a blowjob, he still wants to hide his homosexuality to the outside. Hence he still gets scared and would like the noble to stop from exciting him. So for the first time, he is experiencing sex with someone.
Note the opened door. The learned sir caught him by surprise. That’s how the learned sir was forced to repress and hide his homosexuality. This is no coincidence that in season 1, the scholar had the opposite attitude. 
By feigning ignorance, he actually encouraged the artist to become a sodomite. After their return to the mansion, the teacher showed leniency. He accepted that his student would paint erotic paintings, but he was well aware of their sexual encounter. 
(Chapter 30) The moment he arrives back and the lord brings him back to his chamber, the nature of their relationship is no mystery any longer, though painting is used as a justification. 
(Chapter 45) He just accepted him as his sexual partner, hence he went to his room and not to the lord’s side in chapter 44. If we compare their respective situation. Yoon Seungho hadn’t progressed much compared to the painter at the end of season 1, because he needed to express his emotions and reveal his secrets and vulnerabilities to Baek Na-Kyum. It took him a long time to open up, as he had been coerced to view himself as a bird of misfortune. He didn’t dare to voice any wish out of fear that these wishes would get ruined. 
(Chapter 96) In his mind, he had no right to voice any desire, as they would be perceived as GREED! 
(Chapter 96) 
(chapter 96) and Heena could hear his words. Hence at the end, the door got broken: 
(chapter 96) This represented the final emancipation of the artist. He no longer cared, if he was seen. He was so moved that he didn‘t pay to his surroundings. 
(Chapter 96), while it was not the case for the noble. The latter knew about the artist‘s shyness. This truly shows that Heena was responsible for the sexual oppression of her brother. The painter was no longer hiding his affection for the main lead, when he decided to wait for his master‘s return in the bedchamber.
(Chapter 98) Observe that the artist was going there on his own will, and he was sharing his bed with his husband. 
(chapter 6) In my opinion, the kisaeng was responsible for this incident. We have a clue for this interpretation: 
(Chapter 94) The noona is the one standing in front of the opened door with her donsaeng. Here, the artist was getting embarrassed and humiliated. That‘s how little by little, the artist associated the closed door to shame and safety. This is not surprising that the kisaeng is also standing behind the closed door, when she hears her brother making love to the main lead. 
(Chapter 96) In addition, she is constantly seen in connection with an opened door, but this opened door is linked to anxieties, pain, shame and guilt: 
(chapter 68) 
(chapter 66) 
(chapter 88) I have the impression that she was acting out of jealousy, and she had intended to tarnish her brother‘s reputation.
(Chapter 102) This symbolized the final emancipation of Yoon Seungho. He could finally move on from his past, and as such leave the darkness of his mental prison. He no longer needs a window to view life. This scene announced that he was starting living again. Thus I am expecting to see Yoon Seungho becoming more proactive and funny in season 4. He will show his intelligence and strength in order to defeat his enemies because so far, he never revealed his qualities to others, only to the scholar. His past had left him somehow paralyzed, hence he has laid a low profile. In his past, he believed that his prison was his protection, for he could observe and remain quite wealthy and powerful. For me, Baek Na-Kyum is in reality his strength, the reason why he will be able to leave his cage and shows his true colors and skills. 
(chapter 7)
(chapter 19)
(chapter 29) 
(Chapter 22)
which is connected to the expression “castles in the air”. His aspirations are boundless, he is aiming at the highest position without being competent or even trying to improve himself. He also attempts to air dirty laundry, when he is hunting with Yoon Seungho. He wants to force the lord to admit his lie so that he can criticize him. But here he fails. As you can observe, many expressions with air reflect his personality. However, there is one scene that contrasts to this observation, that’s when he is in his library in the chapter 40. We actually see him at the library in two occasions: 
His words there are suffocating the poor boy, that’s the reason why Baek Na-Kyum is left speechless. 
(Chapter 27) Even in his bedroom there are books so his own bedchamber gives the readers a suffocating feeling. Since there is no window visible in his room and the library, there is no fresh air in the closed room which explains why it is asphyxiating. Usually, we say in a closed room that it smells musty. He only knows the world through his books and the moral standards. He is not even opened to the outside, only his words and thoughts count. Everything else has no value hence there is no life next to him. People living by his side will end up suffocated as he doesn’t allow them to breathe. He is stubborn and he will never change, a fake, empty and narrow-minded man with no conscience. Because of this connection, I realized that Jung In-Hun had no future in Hanyang. He would end up buried, and this became a reality. Because the moment he left for the capital, he ended up dead. And now, if you think carefully, you will recognize that the learned sir is associated to nature! Thus he was seen in the woods (chapter 6, 22) or in the countryside admiring the moon. 
(Chapter 70) Air means also breathing! Hence he represents the fresh air entering Yoon Seungho‘s bedroom, hence we had such a scene: 
(chapter 35) The lord witnessed the intimate interaction between the learned sir and the artist, thus he was incited to leave the bedroom. Strangely, we could say that he was the initiator for the lord‘s liberation. No wonder, why Kim wished to get rid of the learned sir in the end, and just viewed the artist as less annoying and evil! 
(Chapter 18) so that he ended up letting his guard down. He was not so competent and intelligent like Yoon Seungho, he relied more on the stupidity on others. He could deceive commoners, but not spies. In my first version, I had envisioned that the learned sir had many tricks up his sleeves so he would survive, but I had not realized that he had met a fake servant 
(chapter 37) definitely a noble who could see through him. For me, it was the pedophile himself. I had predicted that he would disappear into thin air, and it became a reality, especially if my theory about his assassination is correct. We could see the transformation of the scholar into a ghost, 
(chapter 50) who would come to haunt the couple because of his resent. 
(Chapter 98) As the air, he became a spirit! And note that the lord was encouraged to stroll too! 
(chapter 33), forced the lord to realize that the artist was indeed a precious treasure, and he was not willing to share him. 
(chapter 33) At the same time, due to Black Heart’s words, the noble was reminded of the painter’s health conditions. Although the lord was talking about the artist, as though the latter was just an object, the reminder forced him to recall that Baek Na-Kyum was a human who could die. That’s why he returned in the end. His abandonment reflected his cowardice, he didn’t desire to be confronted with the consequences of his bad behavior. Consequently, just like in the Russian novel, the main lead was reminded that the low-born was just a human. As you can see, both characters had a similar disposition and also a change of heart.
(chapter 34) Kim’s remark was in fact insinuating that the lord had been very generous and caring for him. He gave the impression to the low-born that the noble was treating him like a noble, as the latter had sacrificed his bed for his recovery. However, this was not true, as the lord had brought the artist to the study before the doctor’s arrival. 
(chapter 33) At the same time, the butler was not entirely lying either. The lord had indeed shown generosity and care, since he had called for the physician. Yet, once he had heard about the doctor’s precription, the aristocrat had ran away from his responsibilities 
(chapter 33) and left everything in Kim’s hands. Remember my statement: Kim is always telling half-truths. Kim was in reality the one who brought him to the noble’s bed. 
(chapter 34) and become the lord’s sex toy: 
The irony is that although the valet treated the painter as a honorable guest (bringing him to the lord’s chamber and taking care of him as if he was his master), in truth he was just viewing the low-born as an object and tool. was truly making sure that Baek Na-Kyum would get the best treatment, but the domestic used the opportunity to praise his master indirectly. 
(chapter 33) While he was at the sex orgy, he remembered the exhausted young face of the painter, while they were talking about him.
The lord was suffering, but unlike in the past he couldn’t keep his distance from his lover. He needed to sense his presence. He was no longer his sex partner, but he wasn’t treated like an object or a servant. During these two separations, Yoon Seungho was full of worries for Baek Na-Kyum which he was trying to forget, yet he couldn’t. At the same time, he was reflecting on his past actions:
(chapter 18) In my eyes, the butler’s cowardice is connected to the social norms. He had deeply internalized the social values from Joseon, hence he represents a reinforcement of authorities. As you can see, there are many explanations for his behavior: guilty conscience, out of concern, self-introspection… On the other hand, he is only partially running away from his responsibility, as he had asked the servant Kim to take care of the artist. This is why this “abandonment” stands in opposition to the scholar’s. The latter betrayed during the rape, as he didn’t intervene and acted as if nothing was happening. And the next day, he brought him back to the mansion and abandoned him by letting Yoon Seungho drag him to the bedchamber. At no moment, he tried to stop his sponsor. That’s why he remains invisible in chapter 32. 
(chapter 33) He anticipated that his master was avoiding to face the consequences of his selfish behavior. For me, Kim doesn’t truly love his master. He views the Yoons as terrible, but he will never confront them. But for his own safety, he needed to deceive the painter. Let’s not forget that Kim had played a role in his escape and the low-born could reveal it to his master. That’s why he needed to fake his care and concern for the painter so that the artist wouldn’t mention the past. Thus he begged the young man not to wander around as a sign of care and gentleness.
(chapter 32) However, the valet Kim was not present, hence when he lied to Baek Na-Kyum, he had no idea that in reality his words were containing more truth than lies in reality. That’s why I chose the kiss as illustration for the analysis. The roles were switched. The master acted as a servant, and the low-born was now the lord. The male lead was acting like Vasili Andreyevich Brekhunov from the Russian novel. Yoon Seungho was even willing to give water to the exhausted man. This situation was repeated in chapter 76: 
(chapter 76). The lord made sure that the painter would feel better with the water. But let’s return our attention to chapter 33. In the bedchamber, the main lead was to blame for Baek Na-Kyum sickness, as he hadn’t paid attention to the artist’s condition. He had acted selfishly, exactly like the protagonist from Master and man. Both realized their huge mistakes, came to regret and took some responsibility, although the chronology in the Russian story diverges. But this shows that both aristocrats came to realize that commoners were humans and no possessions. 
(chapter 35) and his preparations for the exam were more important than the painter’s life. 
(chapter 35) No wonder that after his departure, the artist was disappointed and heartbroken. 
(chapter 36), until he saw the painter’s erection. He was willing to give up his position as master. That’s why he prioritizes the painter’s pleasure all the time. 
(chapter 36) So their relationship master-servant stopped at this moment, hence he lets him stay by his side, when the brother Seung-Won is in his chamber.
(chapter 37) Notice that his position had changed. He was sitting by the lord’s side. He even asked the artist to sleep by his side and let him stay in his bed without waking him up the next morning. As you can observe, the characters’ position illustrated their actual position in their relationship. When Baek Na-Kyum woke up the next morning, he was alone in the bedchamber. The lord preferred to leave his bed and eat elsewhere. In other words, Kim’s words from chapter 33 became a reality. He let him rest in his bed. Yoon Seungho showed so much consideration that in the chapter 39, he even went to the kitchen in order to fetch the low-born. 
(chapter 38) He didn’t even send his loyal assistant. He had become the “servant” himself. In other words, we witnessed the lord’s slow conversion during the chapter 36 and the small changes from that moment. The nature of their relationship had changed, hence he claimed Baek Na-Kyum as his bride unconsciously. 
(chapter 40) So both characters, Yoon Seungho and Vasili Andreyevich Brekhunov transformed into a different person, more selfless and caring. They were willing to sacrifice things for them: status and pride. On the other hand, the nature of Baek Na-Kyum’s relationship with the teacher changed for the worse: from a teacher to a student, it became a lord-servant relationship, and the painter sensed the change of their relationship. But let us not forget: Jung In-Hun never considered the young man as a student, for him he had always been a low-born. It is just that he was so good to deceive the commoner.
(chapter 71) Baek NA-Kyum was no longer a low-born, but a noble, while the main lead was his “servant”. This explicates why the noble was no longer asking for him in the evening 
(chapter 74) and visited him secretly during the night. But this switch of position didn’t remain a secret, the moment the lord embraced his panicked lover. 
(chapter 76) At the end of the second season, the lord’s true personality is more and more unveiled: he has a kind and generous heart, and he is able to reflect on his wrongdoings, which contrasts to Jung In-Hun. And now, you can comprehend why right from the start, I was fascinated by the infamous sodomite. The first season let us see glimpses of his warmth and selflessness. This means, the noble’s courage and strength will shine more and more.
Bebebisous33s' analyses in K-Dramaland and Manhwas 