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 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.
(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.
(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.
(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) 
(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.
(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.
(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. 
(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.
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: 
(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 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. 
(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 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.
(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 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! 
(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. 
(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. 
(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.
(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!
(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.
here, 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). 
(Chapter 8) For the first time, the protagonist didn’t allow his peers to look down on him and requested more respect. 
(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.
(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 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. 
(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. 
(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. 
(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 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.
(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. 
, 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. 
(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. 
(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 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. 
(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 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 
Kim hates uproars, as they represent a source of danger for his life. As you can detect, the butler is determined to protect the Yoons’ notoriety, but out of selfish reasons. The manhwaphiles should remember that in chapter 17, he asks the maids not to approach the study like that. He is determined to keep everything under cover. He disapproves the master’s actions, as they are going against social norms. As a noble, he shouldn’t have a sexual intercourse with a low-born. That’s why he let the boy desert the mansion after the rape. He didn’t do it for the artist, but for his master’s respectability, because if this was known, then the valet’s good life would be in danger. Kim has deeply internalized social norms, any deviation represent a threat to his peaceful live. Moreover, he would attract attention again. But when he witnessed the master’s despair and fury after the escape, where all the servants had to suffer the result of his decision, he chose a different strategy. Back then, I described him as his matchmaker. He tried to present his master in a better light so that the artist would have a change of heart and accept Yoon Seungho’s advances. However, now I have to admit that I have a different judgement. He was not a real matchmaker, he was trying to turn the painter into a favored servant so that the appearances would be maintained. He decided to use a similar strategy, the aphrodisiac as a first step. And with all these new discoveries, I come to the deduction that the butler was a real accomplice of father Yoon’s schemes. If they became close sexually, the painter would become a servant and take over his role as close assistant. That way, his presence in the lord’s bedchamber could be explained. That’s why he lets the painter attend the noble during his illness and even allows his presence, when the doctor is here. In other words, he would like to hide the scandalous relationship with the low-born under the pretense that he is just a favored servant. 
. (chapter 45) First, it symbolized that the painter was more than just a favored favor. But more importantly, he never cared about the item, since 
(chapter 63) He is indeed a hypocrite, a selfish person,
(chapter 52) He was not the “wife”, the mistress of the house, just a servant. As you can observe, the butler is someone who abides to rules very strongly, he can’t accept a relationship between a low-born and a noble. That’s why I come to the conclusion that Valet Kim never understood the real needs of his master in the end. He never grasped that the noble was missing love and couldn’t cope with his betrayal in the end, because for him love is not important, only a peaceful life. And with this new approach, it becomes understandable why Yoon Seungho was never repulsed by the low-born. Since his childhood, he felt closeness to a commoner, and considered Kim as his father.
(chapter 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 50) This explicates why Yoon Seungho can’t trust Kim’s words in the end.
(chapter 62) In his eyes, he betrayed and abandoned him once, therefore it is definitely possible that he is lying. The longer the lord lives with the artist, the more he senses that Kim shouldn’t be trusted. This explicates why the lord’s relationship with the valet is deteriorating. In season 1, he never doubted Kim’s words, but now it has changed. The painter’s genuineness makes Yoon Seungho detect the butler’s fakeness and hypocrisy. And since the lord threatened him with the sword, I am envisaging that he will do it, the moment he feels that his loyal butler betrayed him. 
(chapter 45) The purpose of this action is simple. On the one hand, he gave the impression that he was protecting Yoon Seungho’s interest, on the other hand he was pushing the jealous servant to plot something so that Baek Na-Kyum would disappear. Kim was well aware of Jihwa’s visit in chapter 43. He knew that the second lead would do something out of jealousy. Kim needed the painter’s submissive attitude, as this could only affect his lord positively, turning the mansion into a golden cage. And while I envisaged that the shock Kim experienced during that night would make change his mind,
(chapter 11)
(chapter 53). Notice that although these drawings are illustrating the same gesture, the perspective diverges. In the first one, the focus is on the lord, while in the second, the recipient of the slap is in the center. Why did Byeonduck switch the perspective? I could use my earlier explanation that in chapter 53, the creator wanted to let the noble appear as a vengeful ghost and not as a human. However, there exist other explications. 
(chapter 53) The gaze, the mirror of his soul, reveals his shock and agony. The hand hurt the loved one, although it was meant to defend him. At the same time, by putting the painter in the center of the drawing, the author enhances the painter’s bravery.
(chapter 23) Note that here the lord is taking away the apple from the painter. He’s eating his frugal meal. Furthermore he stands above him and his gestures clearly indicate that he has been following and observing the artist before eating his fruit. Here, he appears as selfish and self-centered. He takes without asking. This stands so much in opposition to the shared meal in chapter 47. 
(chapter 47) This time, the roles are switched, the aristocrat is willing to renounce to his own meal. Besides, he is also giving up on his own seat to Baek Na-Kyum. In other words, the latter is now the one standing above the aristocrat because it was as if he had become the master, since he is sitting on the lord’s seat. Even the noble reminds him to remain seated so that he can keep eating. This contrast emphasizes so much the powerful protagonist’s huge transformation. He is selfless, benevolent and really caring. 
(chapter 47) Now, there is a direct contact between them. One might argue that this is related to their sex sessions, which is true. However, let’s not forget that the unconscious is voicing itself through the hands, hence despite the experienced intimacy, his unconscious is still unsatisfied. Therefore in chapter 47, the hand feels the need to touch his mouth. Sure, someone might say that he wants to ensure that the painter is not hurt. However, he could have used his eyes and just look at the mouth. That’s the reason why I feel that the gesture was revealing something else. The hand is expecting something from the mouth! Deep down, the lord is wishing to hear something from the painter but nothing has happened so far. At the same time, observe that the lord is smoking right after. It was as if this gesture (caressing the low-born’s mouth) had bothered him so much that his mind decided to control the hand again. Consequently he starts smoking. He needs to act as if he was indifferent. This explains why right after his mouth is revealing the thoughts of the mind: 
. The smoke is helping him to calm down and control his emotions, yet the mouth can no longer mask the influence of the unconscious because of the choice of words. As you can detect, the use of the smoke is no longer effective. Notice that “hurt, “embrace” belong to the vocabulary field of emotions. So the mouth is not truly rationale. As a conclusion, the mouth is revealing little by little the truth. Furthermore, the hand displays a certain longing: the lord’s unconscious is expecting to hear something from the painter’s mouth. What is it exactly? 
(chapter 11)
(chapter 12)
(chapter 26)
(chapter 31)
(episode 48)
his mind didn’t allow his mouth to become emotional and confess his love to the painter. 
But the painter’s mouth is telling the brutal truth. The lord has never confessed to him hence it is a lie that Yoon Seungho loves him. At some point, the Queen gets defeated by Snow White, however I am not expecting the same ending here. The lord will be forced to confess. He has to be reveal his true emotions if he wants to hear a love confession from the artist. We shouldn’t forget that the artist works as a mirror. The moment Yoon Seungho declares his affection to the painter, the latter will reciprocate his feelings because he will mirror his emotions. 
(chapter 25) and in that bathroom. Each time, he spoke, his sincerity hurt the lord. With his words, the artist confronted Yoon Seungho with reality. The lord could no longer lie to the painter and to himself: the love confession was addressed to someone else and he knew that. I could even say that the slap in chapter 11 was a violent reaction because with the ruined paintings and with his words (refusal of working for him), he had rejected Yoon Seungho which the unconscious could not accept. Hence the constant rejection was always very painful for the lord, the painter’s mouth kept wounding his heart, the unconscious, since the conscious was denying the existence of any feeling. Baek Na-Kyum’s mouth is the mirror of the truth. The lord’s conscious has to accept the crude honesty: he is in love with Baek Na-Kyum. As long as he continues denying it, his unconscious and heart will always be wounded by the painter’s mouth. That’s why he needs to stop denying this. Simultaneously, this explains why the artist’s mouth has a calming effect in chapter 53 
. For the first time, the painter’s mouth is showing concern and care. There is no rejection, the artist’s voice and words let transpire feelings which the unconscious has been longing for a very long time. That’s why in that moment, the lord can’t help touching the painter’s cheek and white head-band. The unconscious has finally received something it had been longing: acceptance and warmth. But this is just a brief victory as the moment is ruined by Min’s appearance. However, through this examination, it became obvious that Yoon Seungho needed to confess first. And this observation was proven correct. Yoon Seungho admitted his attachment to the painter in chapter 55. 
(Chapter 51) 
(Chapter 51) And now, if we look back at his first appearance, he was indeed recommended by hearsay. Min was the first one mentioning him to Jihwa. So in the following panel, the speech bubble represents Min’s voice. He is the one describing Nameless to Jihwa.
(chapter 51) The minions must be the musicians and the dancer. As you can observe, the man is not just some criminal driven by greed and brutality, he has abilities for he was able to impose himself as the leader of this band. I detect that he is methodical and quite decisive. Remember that he gave instructions to Jihwa in the chapter 50. 
(chapter 50) Strictly speaking, he is a strategist which is visible when he tells Jihwa that he has other channels. 
(chapter 51) They were not wrong with this association, however I feel that in that cabin, there was another channel that Nameless was working on. 
(Chapter 51) If you regard her clothes, you’ll note that her appearance resembles the one belonging to maids. 
(Chapter 47) The colors of the jacket and skirt are quite similar. However, there is a huge difference between the two maids. Although the servant in the picture above is the head-maid at the kitchen, she doesn’t own any expensive hair pin or ring, while it is different with the woman sleeping with Nameless. She possesses two jade rings and a golden hair pin. This is not something a maid would own. We have 2 possibilities. Either the woman disguised herself as maid by wearing such clothes and hid her real identity or she is a maid close to a lord and the latter gave her jewels for her sexual services. The third possibility is that she works as a gisaeng which would explain the contrast between the jewels and the clothes. She belongs to the lowest social class, yet she has to distinguish herself through her hair dress and jewels. This idea was proposed by one of my readers Anyway, in my opinion, Nameless approached her for a reason. He is digging for information. We have two possibilities: either he is spying on nobles (the clients of the gisaeng house) or he wants to know more about the painter. Let’s not forget that the latter was raised in a brothel. While Jihwa believes that Nameless is doing it for money, I think that he is using his body for information. Why do I come to this conclusion? It is quite simple. Since I sensed so many parallels between Yoon Seungho and Nameless, I am using the protagonist as role model. Because the noble used his body in order to defeat nobles and to hide his own self from others, I believe that the commoner is acting the same way. Both have a negative reputation through gossips and hearsay. 
(Chapter 51)
(chapter 50) that’s why he ordered him to stay home in the chapter 50 and here asks if he has been drinking. He can perceive people’s personality very well. I would even add that Nameless’ heart must have been touched, when he noticed Jihwa’s bad habit: biting his finger nails. He must have sensed that this noble had still an innocent soul. Striking is that although the red-haired noble is just a wreck and even insults the “criminal”,
(Chapter 51) Even the evil domestic got scared, when he experienced this gaze. 
(Chapter 51) That’s the reason why this zoom on his chin covered with tears was preceded with the drawing of Nameless’ face.
The latter looked at Jihwa’s mouth and tears, while the commoner allowed the noble to voice his worries and anxiety. His eyes don’t express any disdain or arrogance in the last painting. Here, we could say that Nameless is not cold-hearted, quite the opposite, he is sensitive. Sure, he doesn’t allow the red-haired aristocrat to mistreat him, yet he shows a certain curiosity and concern towards his client. In fact, this reflects the purity of his heart. He senses the noble’s sinlessness which stands so much in opposition to the criminal’s reputation. In this scene, the manhwaphiles can detect another similarity with Yoon Seungho again. The gaze and action reveal more than any word. And here is the next question: why would No-Name be quite nice to Jihwa? 
symbolizes perfectly the main characters’ personality. While Yoon Seungho has still a pure mind (White), his heart has been corrupted due to his tragic past (black) that’s why he keeps hurting the painter over and over again. On the other hand, Nameless has a pure heart, yet he has a corrupted mind due to a traumatic experience. His “vicious” mind could be the reason why he is able to perceive a conspiracy and even plot a crime. He doesn’t lose his temper, when he is threatened.
(Chapter 54) reminded me of Jung In-Hun’s behavior in the first season. He used commoners in order to dig up some secret so that he could blackmail Yoon Seungho.
(Chapter 29) Therefore I have the impression that the commoner is behaving like him, yet this time it is in order to unveil the identity of the mastermind. That way, he could protect Jihwa and at the same time, he would be able to get rid of a heinous person. On the other hand, since Min has become aware that his plot failed because the assassination didn’t take place, Black Heart can only condemn the red-haired aristocrat and Nameless. It is definitely possible that Min chooses to hurt Jihwa as retaliation which can only push the criminal to become very hostile to Min. From my point of view, Nameless will become a great helping hand for Yoon Seungho in the future. With his Black mind, he can even predict what villains will do. The protagonist’s mind is too pure to recognize the viciousness in the scholar. He might have perceived his hypocrisy and stupidity, nonetheless he still doesn’t know what Jung In-Hun afflicted to the painter. From my point of view, this explains why Yoon Seungho couldn’t defeat the scholar so quickly. He was too naive in this aspect. However, the main character needs to have someone with a black mind so that they can anticipate the scholar and father Yoon’s moves.
(chapter 48) The noble had noticed that the artist was blind and deaf hence he needed to use the low-born’s body to awake his senses and arouse the painter’s instincts. That’s why he licked the painter’s ears while whispering, 
(chapter 49) or pinched his nipples. At no moment, the protagonist let his emotions (anger, frustration) take control over the situation. That’s why we definitely can’t say that we have another rape in the chamber. First, since “Baek Na-Kyum is a whore” (in the painter’s mind), then the lord can do anything he wants. The noble’s reasoning is quite simple: “Because the commoner is acting, then I should act too”. Secondly, the noble is trying to discover the root of the problem
(chapter 49), while at the pavilion, he thought that if he forced himself on the painter, he would achieve what he wanted: being recognized as the painter’s partner and husband. From my point of view, we can observe the master of deception in action in this scene. He is using his body as a tool, just like in the past, when he had a sex session with the nobles. However, his goal concerning Baek Na-Kyum is different. This is not to defeat his counterpart. Inflicting pain is just his way to get through the painter’s mind and body. In fact, his goal hasn’t changed at all since the chapter 23. He is still hoping to be loved by the painter but right now, his immediate purpose is to discover the truth. Pay attention to the seme’s face in the illustration above. He knows that he is inflicting pain on the painter hence he is hurt as well. The manhwalovers can perceive the noble’s true face. That’s why I called Seungho as the master of deception. In the image above, the artist can’t see the noble’s true emotions and personality. Our seme feels, he has no other option left as the painter is living like a robot, or better said, a robot prostitute. This contrasts so much to the scene at the pavilion where his selfish desires and negative emotions led him to wound the man. From my perspective, Yoon Seungho is actually selfless here, he is doing it for the artist’s sake. He prefers being hated than getting unnoticed or objectized as an image: Seungho is a man consumed by lust. As a conclusion, Seungho is taking the bull by the horns, willing to get hurt and even hated in the process. The painter needs to answer his question: 
(chapter 48) Did the scholar request the painter to sleep with him in order to discover a weakness? Sure, Baek Na-Kyum said that he was doing it on his own free will, yet his reactions led the lord think otherwise hence he couldn’t lower his guard entirely. 
(chapter 49) He triggers him with his comments and actions, yet he is determined to make sure that once the artist reaches the breaking point, he will stop. That’s why the noble doesn’t listen to the painter’s complaints
(chapter 49), until Baek Na-Kyum yells to his lover and starts crying for real. Notice that in the drawing above, the artist expresses his own thoughts and desires for the first time. What caught my attention is that in this drawing, Baek Na-Kyum is speaking without a pause, unlike in the past where he is not even using the pronoun “I” or “me”: 
(chapter 45). My interpretation is that in that situation, the painter was only perceiving himself as an object. Sure, right after he admitted that he was feeling something. 
(chapter 45) But the emotions were quite superficial, he had great difficulties to externalize these. While the pronoun “I” was only used for the first time for a short moment, there was still the presence of an object in his confession. In other words, he was still denying the existence of two naked bodies till the chapter 49. Either he was an object (“it feels nice”) or the lord was one (“I like it”). Hence the lord’s remark was so point on: 
(chapter 48) First, he had misunderstood the confession, yet at some point he perceived his “confessions” for its real value: the presence of an object in his expressions. 
(chapter 49)
(chapter 49)
(chapter 49)
(chapter 42)
(chapter 42)
(chapter 41) In other words, I see a lot of common points between Jung In-Hun and modern dictators like Hitler, Stalin and Mussolini. We have the following common denominators:
(chapter 49)
(chapter 29) While some people judged it as something negative, I viewed it in a positive way. First, this flashback shows that the painter is thinking on his own. Secondly, he gets aware that the teacher’s hug was fake. He realizes the contradiction between the hug and the words said in the chapter 40: “He was born to be a prostitute”. “If so, why did he hug me back then?” From that thought, Baek Na-Kyum comes to the right conclusion. Jung In-Hun was not sincere and he is finally able to perceive the true nature of his learned sir: a hypocrite, though he doesn’t voice it. This is definitely relevant, this illustrates that Baek Na-Kyum is abandoning the scholar’s doctrine for real. He questions the teacher’s power and control and criticizes him for his dishonesty and duplicity. Since I stated that the rule 6 was central, this means that all the rules become obsolete as well. Baek Na-Kyum decides to live like he wants. And unaware of this, the lord makes the same decision. 
(chapter 49)
(chapter 49) He has suffered a lot and he fears to mistake the warmth from the protagonist as something real, whereas it could be fake too. That’s why Yoon Seungho can’t be pleased with this confession. He has to hear that he won’t be loved, that their relationship is only physical, he can’t expect more. Therefore Seungho gets upset and is about to complain, when he hears “I feel good”. Remember that I had explained that their position had been switched from the chapter 36 on. The noble had lowered himself and become a servant in order to get accepted. Now, with this confession, the painter is accepting the noble as his servant and he will be the master. No wonder that the seme is bothered first because this was not his true goal in reality. But when the commoner kisses the lord, Yoon Seungho’s negative feelings disappear. 
(chapter 49) Why? The lord senses that there are feelings here. For the second time, Baek Na-Kyum takes the initiative. This time, the confession, the caress and the kiss are directed at the noble. Besides, the artist shows that despite their new defined relationship, Baek Na-Kyum is genuine. This is not a real master-servant relationship, as there is some warmth in his gestures despite his words.
(chapter 39) So he won’t react like in the past, hide his special relationship with the lord. He won’t show any fear, when it comes to gossip or judgement from others. Why should he feel ashamed? This is something natural, which means that the next time Deok Jae calls him 
(chapter 47), he will be able to reply. 
(Chapter 9)
(Chapter 9) Baek Na-Kyum excused himself with a lie, he would show him when the work would be finished. However, the true reason for his departure was his erection. Notice that he is using the paper to hide his erected phallus. He was also on his knees before, when Yoon Seungho approached him. The cause of his sexual urges is revealed with the following drawing. 
(Chapter 9) This drawing represents the painter’s perspective. As you can see, the painter’s eyes are focused on the lord’s hand touching the butt and anus. From my point of view, he is imaging the lord’s touching him. This time, the artist is conscious and can no longer repressed his sexual desires. Later, his gaze focuses on the other uke, the one penetrated by our main lead. Here, it is quite clear that the artist wishes that he had replaced Min.
(Chapter 9) In both cases, the painter never painted the sex partners’ faces properly so that it would easier to imagine for him to switch places with them. All these zooms reveal the growing sexual desires. That’s why he feels the need to masturbate, as he can’t repress this urge any longer. This didn’t escape Yoon Seungho hence he couldn’t help himself smiling.
(Chapter 9) Although the painter had been quite rude and left him behind, the lord wasn’t bothered. In fact, he was pleased that he had indeed affected the artist.
(Chapter 9) His eyes might be open but his spirit seems to be elsewhere. He is not really looking.
Because the readers never see his gesture, they can not be certain. Hence Byeonduck had to draw a picture with his erected phallus showing his masturbation. 
Striking is that the moment he feels that he is about to climax, he closes his eyes. Here again, this reinforces the statement that Baek Na-Kyum is determined to refuse to face reality and deny his attraction for a man, for the noble. 
(Chapter 9) When the sperm comes out, it lands on the floor. This is quite important as it illustrates the artist’s attitude towards the semen. He considers it dirty and filthy hence he makes sure that his hand doesn’t get soiled. That’s how much he despises himself and his needs but he can no longer repress these urges. He prefers closing his eyes, masturbating behind a door and using his body to cover his filthy gesture so that no one can ever witness it. But he is too focused on his needs that he forgets that he is making noise so that Yoon Seungho knows what he is doing. At the end, you sense the low-born’s despair and disgusted attitude with his final position. 
(Chapter 9) The manhwaworms feel his strong refusal to admit his attraction towards the noble, his sexual arousal and his sexual desires towards Yoon Seungho. The painting had such an effect on him, it awoke his repressed sexual desires.
(Chapter 46) However, he has still a position where it is still protected. If someone came from the side, they wouldn’t detect immediately what the low-born is doing. This can be explained that there is still some shame left but it is now related to his perception that homosexuality is a synonym for prostitution. That’s why he is still reserved. On the other hand, the semen doesn’t land on the floor but on his hand which shows that he no longer feels disgusted.
(chapter 46) Some readers complained that he didn’t wash his hand before falling asleep. Yet what they failed to realize is that this proves that Baek Na-Kyum no longer perceives sperm as dirty and filthy. This symbolizes a huge step forwards. Now, if we compare the two masturbations, the readers will notice another huge divergence: the chronology of the drawings of Baek Na-Kyum with closed or opened eyes. In the chapter 9, we had first the painter with opened eyes as he was lost in his thoughts and the moment the ejaculation was about to come, he closed his eyes. Here, we have the opposite, first the closed eyes. 
(Chapter 46) The reason is simple: he is not lost in his thoughts, quite the contrary. All his thoughts are revolving around the master confirming the change of his attitude. He is no longer denying his attraction towards the noble. That’s why the author lets the manhwaphiles see the images he has in his mind. What caught my attention here is that the painter had visions of the moments, the lord made love to him.
(chapter 42) 
(chapter 46) In the last picture, this happened right after the painter had made a sort of confession which triggered the lord to become more vigorous and passionate. This shows that he sensed the lord’s affection but he can’t define this as such yet. 
(Chapter 46) The kiss triggered the climax indicating that the kiss, full of love and passion, moved him so much. He sensed the lord’s love stronger here. Since his eyes are wide-opened, it clearly shows that the man is actually facing reality. He is no longer hiding, running away from his sexual desires and admitting that his feelings towards Seungho have changed. Notice that this time, he even questioned himself for this reason. Why could such a kiss provoke such a reaction? He is now looking for an answer, he is no longer running away. He wants to discover the truth. 
Bebebisous33s' analyses in K-Dramaland and Manhwas 