Painter Of The Night / A Sip Of Poison: A Question Of Perspective: The loss of the topknot 💇🏻‍♂️ (second version)

This is where you can read the manhwas. https://www.lezhinus.com/en/comic/sip_poison This manhwa is mature. 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/  I also used briefly Doctor Frost again which I highly recommend to my readers. https://www.webtoons.com/en/mystery/dr-frost/list?title_no=371 If you want to read more essays about other manhwas, here is the link to the table of contents: https://bebebisous33analyses.com/2021/06/06/table-of-contents-of-analyzed-mentioned-manhwas/

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1. Castration or abandonment?

Anyone reading my previous analyses about Painter Of The Night will certainly recall that I had perceived the loss of the topknot as a castration. Why? In Joseon, the topknot was given to men the moment they became adults and this Coming-Of-Age ceremony took place just before a marriage. [For more read the essay “Coming Of Age”] In other words, no topknot meant no marriage and as such no responsibility and maturity. However, this is important to recall that the loss of the topknot was brought up in a different context. It was mentioned for the first time in the painter’s statement. (Chapter 1) When Baek Na-Kyum remembered his noona’s words about Yoon Seungho, he connected it to the loss of his future lover’s topknot. Here, the gesture had a different meaning. By cutting off his hair, the father was acting, as if he was abandoning his son. According to social norms, the hair was considered as a heritage from the parents. So if Yoon Chang-Hyeon had truly done it, the latter was showing that he was no longer considering the main lead as his son. While the rumor about the haircut gave the impression that the elder master Yoon was a honest and honorable noble, anyone can perceive the elder master’s action differently: the father is a coward, a selfish, ruthless and disloyal lord, especially the moment it is revealed that Yoon Seungho was abused sexually, physically and mentally. Let’s not forget that the protagonist used to live in the shed, for he was viewed as an animal. His situation reflected the father’s betrayal and abandonment. It doesn’t matter if he had been manipulated, because in the end, he made the decision to treat his son as a slave. He refused to send for a physician. To sum up, the loss of the topknot in this rumor would be judged as the epitome for cruelty and intolerance!! This shows that the loss of the hair in Painter Of The Night has actually many significations: castration, mercilessness and abandonment.

Then it occurred to me that the painter has been cutting off his hair all this time because of his noona. (Chapter 94) In this scene, the painter was rejected by the children, for he had no braid. Due to his hair dress, he was recognized as orphan immediately. The justification was that that way, the artist would appear more boyish. But by mentioning the loss of Yoon Seungho’s topknot, Heena was actually revealing that she knew the true signification of the haircut: abandonment and intolerance. Her words to her brother exposed her hypocrisy, though she attempted to portray the elder master as respectable. One might argue that when Na-Kyum was just a child, she had suggested the short hair, for she had good intentions. But after this experience with the children, the noona should have grasped the wrongness of her decision. She should have admitted her bad decision and stopped the painter from cutting his hair. Moreover, don’t forget that Na-Kyum was just a young boy, so the haircut must have been done by Heena herself. This shows that her gesture actually divulged her future behavior: she would betray and abandon the painter constantly (season 1, 2 and 3). At the same time, since the painter was seen with short hair in chapter 68 , this indicates that Heena kept cutting Baek Na-Kyum’s hair. So even in the past, she was betraying her brother, though the latter never realized it. The loss of hair could never be viewed as a sign of love or empathy, for it contributed to the painter’s abandonment issues and his self-loathing. He was suffering as an outcast and due to his girly features. The men in the gibang could mistreat him, for he had no long hair or topknot. Why? (Chapter 94) He had no parents or guardians protecting him which is true, for here he was exposed to violence. Heena, as the head-kisaeng, had not protected him at all, she must definitely have portrayed herself as powerless. Yet as a slave of the state, she was belonging to the king. So she had connections to officers and the court. In my eyes, the head-kisaeng made sure that the artist could never get a topknot, and as such he would never be able to become a “noble” or even a man. Hence Baek Na-Kyum was constantly called boy (Chapter 56) (Chapter 59) (chapter 66) and treated as one too. This observation made me realize that Heena’s belief could be used as an explanation for her action (cutting off his hair): she hates nobles so much that she didn’t allow her brother to have a topknot. But why would she do that? My idea is that deep down, she resented him, for he was a free man, while she was a slave. It went so far that he was encouraged to wear a white headband, the symbol for servitude, though he is no slave! To conclude, the loss of hair in Joseon should be perceived as a brutal and harsh punishment. Without a topknot, one is left unprotected, is not viewed as an adult. But this stands in opposition to Yoon Seungho’s action in front of Jung In-Hun’s home. (Chapter 101) Here, the lord had spared his friend’s life.

2. The loss of the topknot: Symbol for forgiveness?

As you may have noticed, I often use other manhwas as a source of inspiration for my interpretations concerning Painter Of The Night. In the story “A Sip of Poison”, the main lead, the prince Nan-Woo (Chapter 23) cuts off the hair of the general Woo Jong Han, because he had committed crimes. First, he hid the fact that his sister had had a child before getting married to the emperor, which was actually a huge sin. The future Empress should have been a virgin. To sum up, he had committed treason, for he had allowed his sister to become Empress unrightfully. Then the field marshal had treated his niece as a slave violating social norms. (chapter 34) That way, he assisted his sister to become powerful by covering up for her crimes (silence and passivity). She had killed many people to hide her previous relationship and to increase her power. Striking is that the prince still spared Baek-Ha’s uncle, and this for many reasons. First, the latter had not only saved both protagonists, the empress’ illegitimate daughter Baek-Ha and the prince Nan-Woo, but also had admitted his sins. Secondly, he was thinking of his wife Baek-Ha who is kind-hearted. He knew that his death could upset his bride. (chapter 26) But there is more to it. Nan-Woo didn’t spare the man out of benevolence. (chapter 26) He had a role to play. By cutting off his topknot, the general lost his “power”, he became the prince’s pawn! Nan-Woo wished to use the uncle in order to get rid of the Empress. (chapter 23) That way, the protagonist wouldn’t even have to dirty his own hands. On the other hand, we could also say that Nan-Woo was forcing the Empress’ brother to undo his bad decision. (chapter 23) Since he had protected his sister Seo-Ha out of affection, it was normal that now he had to show no mercy towards her. By presenting Baek -Ha to Nan-Woo, the general was well aware that the future ruler would recognize the female lead’s origins due to her resemblance to her mother. Therefore, we could interpret that Nan-Woo had spared the general, for the latter had switched sides and expressed the wish to undo his wrongdoings.

As you can see, Woo Jong Han shows many similarities with the second lead from Painter Of The Night: he was an accomplice of the real culprit, as he never intervened. He is connected to the notion: pity, knowledge, silence and passivity. Because Seo-Ha was his sister, as a dutiful older brother, he felt obligated to protect her. He was not blinded by greed like his donsaeng. This explicates why on the one hand, he saved Baek Ha’s life, on the other hand he still treated her as a slave in order to hide his sister’s wrongdoing. He felt torn between his obligation towards his younger sister and his empathy for his niece, Baek-Ha. Consequently, it is no coincidence that he once warmed her feet with his hands after the young girl had complained about her cold feet. Moreover, she received an education contrary to all the other slaves. He was caught in the middle, exactly like Lee Jihwa who had an attachment towards the main lead, yet he was still bound by social norms to his father. He needed to protect the family’s reputation. So when I saw this scene, (chapter 23) I couldn’t help myself thinking of Lee Jihwa and Yoon Seungho. How could the latter view the loss of a topknot as a gesture of leniency? (Chapter 101) It is because he must have witnessed it himself in the past. I have already pointed out that Yoon Seungho would imitate people, especially his tormentors. So where did he learn from? I believe, Yoon Seungho copied it from someone… and this can only be “lord Song”. And now, the first loss of Lee Jihwa’s topknot can be perceived in a different perspective. The red-haired master was well aware that he had been spared, when he had lost his hair for the first time. (Chapter 101) He knew deep down that thanks to his friend, he had been able to escape the worst. Since he had been spared once, he was well aware that this time, the ruler would show no leniency and would ask for his head, as the main lead was no longer protecting him. Remember what the lord had whispered to Baek Na-Kyum: (chapter 88) (chapter 88) By cutting off the friend’s hair, he was showing that he was abandoning his friend. He was leaving him behind, and Lee Jihwa was forced to face lord Song alone. (Chapter 83) This time, he had not his father by his side either. The latter could not protect him too. I had already voiced this theory before, as it would explain why Lee Jihwa is masking the man’s face. And note that Nan-Woo from A Sip Of Poison cut off the topknot, as he is already acting as the future ruler. Another important detail caught my attention. Just before receiving his sentence, Woo Jong-Han made an oath, (chapter 23), he swore loyalty to the future emperor. This signifies that the topknot also symbolizes faithfulness, especially because it is connected to marriage. Thus I deduce that when Lee Jihwa lost his topknot for the first time, he was already judged as disloyal. Hence it is no coincidence when the antagonist screams that he would become the target of lord Song’s fury.

But the red-haired noble could never reveal the king’s meddling, as his relationship with Yoon Seungho was a secret. Hence he needed to blame someone: The Yoons! I had already exposed that the words from the noble with the mole were ambiguous and as such deceiving. (Chapter 59) First, lord Yoon could be a reference to the father and not only the son. Secondly, he implied that he had witnessed the scene, yet in reality he could have been referring to the outcome: the friend’s hair cut, just like the noona had only seen the hickeys on her brother’s neck. She had never witnessed the sex session. The noble with the mole assumed the perpetrator’s behavior, rage, based on the hair loss. Moreover, he could have been telling the truth: he had never seen Yoon Seungho so angry before, as the latter used to be weak in the past due to his social status: he was a male kisaeng due to his braid. This explicates why the noble with the purple robe would give an order to the host (chapter 8) He felt himself superior to Yoon Seungho, and never expected “disobedience” or “rage” from the protagonist. Striking is that the lord didn’t vent his anger onto him, he first smiled before grabbing him by the topknot. (Chapter 8) A simple change of hair dress had transformed the main lead. This exposes the gods’ intervention in this story. They let the man with the mole see the wrongness of his manipulations. Since he had stated that he had never seen the man so angry, his words became a reality in 3 occasions: chapter 8 like mentioned above, chapter 53 , for he was not present, chapter 57 in the inn. Here, he chose to run away, yet despite everything he still helped his friend Black Heart, for he was present in the gibang. (Chapter 69) Under this new light, this panel from Twitter get a total new meaning: The aristocrat knew about the true identity of “lord Song”, and he had indeed never seen the man so angry that he would cut off the topknot of a noble!! This means that the fate of the noble with the mole should be to end up as the lord’s new plaything. In other words, he takes over the main lead’s previous status. He becomes the male kisaeng and ends up living in the shed like the protagonist in the past where the pedophile vents his rage and resent him for his tricks. But we will see.

Another important detail caught my attention: the noble with the mole judged the loss of the topknot as a harsh punishment (chapter 59) Furthermore, he associated it to abandonment too. (Chapter 59) Yet, observe the drop of sweat. This exposes that neither Min nor the noble with the mole were expecting that Lee Jihwa would be spared!! They acted, as if the loss of the topknot couldn’t be a sign of mercy. But observe what Lee Jihwa was recalling, when the “friend” was talking about abandonment. (Chapter 59) He was by the protagonist’s side! This means that lord Song had spared Lee Jihwa’s life, for he had been present, when Yoon Seungho was suffering. Till the middle of season 2, no one was aware of the fallout between Lee Jihwa and the protagonist. None of the incidents in season 1 was leaked to the outside, hence the “pedophile” was not officially aware of the red-haired master’s wrongdoings. But the loss of hair in front of the learned sir’s house becomes the proof that the main lead has now left his friend’s side. He will be blamed for his suicide. Therefore it is not surprising that the young master chose to run away. (Chapter 101) He knew that the ruler would show no leniency or understanding. Thus the noble with the mole’s karma should be to keep his topknot. That way, he will realize that if he had lost his topknot like Jihwa, his torment would be short-lived and as such it was a sign of mercy. But in this image, it doesn’t look like it. He will suffer for hours and even days before even losing his life. Now, he will be able to see and experienced how enraged or lenient the culprit for the loss of Lee Jihwa’s topknot was towards the antagonist.

The manhwaphiles should keep in their mind the following two rules: the painter’s fate mirrors the lord’s, since the story is constructed like a kaleidoscope. And now, look at this: (chapter 27) The painter had saved his teacher’s life, and later the lord had restrained himself from hurting the scholar in the courtyard despite Jung In-Hun’s lies and lack of respect (he had touched the man’s shoulder). (Chapter 30) Here again, the scholar had been spared. Then in episode 53, the painter had embraced the lord to stop him from killing Deok-Jae. This means that Yoon Seungho must have also saved people in the past by using his body, and this twice, for I had detected the presence of two circles: Yoon Chang-Hyeon and Lee Jihwa. That’s the reason why the father could survive the purge, and why Lee Jihwa only lost his topknot. And the heroine from A Sip Of Poison can serve as an example. (chapter 26) The red-haired noble was able to escape death thanks to Yoon Seungho. But Lee Jihwa had to hide from others that he had been punished by the king, hence Father Yoon and Yoon Seungho got blamed (chapter 1 and 59). And now, you have the explanation why father Lee accepted to receive the main lead in his mansion. (Chapter 1) As long as the latter was living there, the Lees had nothing to worry. The main lead was protecting them from the king. However, the manhwalovers should keep in their mind that Nan-Woo had showed mercy to the general for his own interests. He should become his helping hand in order to obtain the throne. Hence I come to the following deduction: neither Nan-Woo nor the “perpetrator” had cut off the topknot out of real leniency. This shows that for these characters, the loss of the topknot is not the symbol for forgiveness which is not true for the last incident with Lee Jihwa. (chapter 101) Why? It is because the main lead had no intention to use his friend as a pawn. There was no pledge of loyalty… in truth, in this scene, Yoon Seungho was truly cutting ties with the second lead.

But if the pedophile chose to employ the young master after the loss of the topknot, what was his role? In my opinion, it was to keep Yoon Seungho by his side. The pedophile had slowly recognized that he could never separate these two boys, and without him by his side, Yoon Seungho would still reject him. In my eyes, the main lead had followed his friend. Under this new light, the manhwaworms can comprehend why father Lee accepted to let the main lead stay in his mansion. He could secure his position, yet pay attention that despite the topknot, he was still dressed so poorly. (chapter 1) Even the headband was different. This was no coincidence. He should never develop confidence and act as a lord. That’s how I recognized the following pattern. In front of the painter who looked like a minor, the main lead was forced to act like an adult. Thanks to the painter, he was encouraged to mature. Simultaneously this meant that at some point, while living with the Lees, the elder master Lee had to be confronted with the truth: his son’s sodomy.

Under this new light, it becomes understandable why Heena and Kim called the main lead a bird of misfortune. (Chapter 86) The reality was that the pedophile was the bad omen, but they couldn’t insult the king. Hence the young main lead became the scapegoat, people couldn’t separate the pedophile from Yoon Seungho. The “mysterious lord Song” would never give up on the protagonist. No matter what he would keep him by his side.

But like pointed out in an earlier analysis, Black Heart and his friend were definitely the reason why the red-haired master had to lose his topknot. From my point of view, this is related to this night, (chapter 1) and Lee Jihwa had no idea about it. Hence the painter got framed. On the other hand, Black Heart and his friend had to spy on Lee Jihwa in order to know about his ignorance concerning their “prank”. At the same time, they could only get intrigued, why the mysterious lord Song would behave that way, though he had been treating the main lead as a male kisaeng. Towards Yoon Seungho, he was quite selfish and cruel. The discrepancy in the treatment (mercy versus ruthlessness) could only surprise the young nobles. And this observation led me to the following question. Why would Heena mention the topknot to her brother in order to manipulate him? The kisaeng was well aware that he had witnessed the sex party in the kisaeng house, for this image represents a memory from the artist. It is to divert his attention: he should never connect Yoon Seungho to the braided man!! If he had a topknot, then he could never be the one doing the fellatio to the man with the purple hanbok!! But if the painter had pondered a little more, he should have realized his noona’s lies. She mentioned the loss of a topknot, but yet the smiling hell-raiser still had a topknot: (chapter 1) Moreover, we shouldn’t overlook the publications with the braided man: (Chapter 1) Baek Na-Kyum was not supposed to recognize the identity of the man having sex with the bearded man. From my point of view, Heena made sure to confuse her brother. Lee Jihwa’s humiliation became Yoon Seungho’s stigma. He became the culprit. Since in the past, the main lead had been blamed for everything, the perpetrators and accomplices chose to follow this “tradition”, because so far, they had been able to cover up their crimes. But thanks to the painter, it is no longer possible. Why? It is because the painter’s hair dress will serve as a mirror of truth: the absence of a topknot due to the braid and the hair cut will be perceived as an evidence for abandonment, cruelty and huge wrongdoing. This won’t be seen as a gesture of mercy or leniency by the two protagonists, for they suffered because of it!! That’s the reason why I am thinking that the pedophile’s karma should be the loss of the topknot which he viewed as a gesture of mercy and tolerance. But without the topknot, he is actually “castrated”, and as such humiliated for he can not wear his golden sangtu. Yet, contrary to Lee Jihwa’s haircut, the loss of the topknot should not be judged as the symbol of mercy and forgiveness, in fact, the lord would officially cut ties with him. That’s how the mysterious Lord Song would be taught an important lesson: he was a huge hypocrite and a violent and ruthless pervert.

3. The tool for the loss of the topknot

Once again, A Sip Of Poison inspired me. The prince Nan-Woo asked his assistant Yoon (chapter 23) to give him a knife: (chapter 23) before grabbing Woo Jang-Hon by his topknot (chapter 23). Hence the hair fell between the men. (chapter 23) And now, let’s return our attention to Painter Of The Night. Compare the position of the aristocrat’s topknot after Yoon Seungho had punished his friend. (chapter 101) It was behind him!! Thus I deduce that he had used the sword, when Lee Jihwa had approached his friend. But wait… in season 1 and 2, Byeonduck drew scenes with a knife:

  • Chapter 18: And what had happened before? Yoon Seungho had dragged his friend by the topknot before stabbing the amateur spy. This is no coincidence.
  • Chapter 57: When this chapter had been released, I had assumed that this must have happened, when Yoon Seungho had lost his topknot! As you can see, I had already connected the knife to the loss of the topknot incident.
  • However, note that the weapon was used to threaten the painter (chapter 66)

That’s the reason why I am assuming that when Lee Jihwa lost his topknot for the first time, the mysterious lord Song must have used a knife and cut off the young master’s hair. Hence Byeonduck created such a picture where Lee Jihwa was put in a similar situation: (chapter 18) It was to trigger his memory. I am even assuming that the butler must have given lord Song the knife before while remaining in the shadow. But I also think that after the incident with the loss of the topknot, the pedophile must have also threatened him. If he were to reveal anything about this incident and his identity, then he would lose his head. So imagine Lee Jihwa’s reactions in chapter 101. (chapter 101) He had now faced a sword and not a knife contrary to the past. Therefore it is not surprising that the young master got so scared and chose to flee. Lee Jihwa had betrayed lord Song by telling an anecdote from the past. He had more or less leaked the name “lord Song”. (chapter 83) (chapter 101) For the first time, he had been confronted alone with the sword directly. There was no one and nothing to protect him. When Yoon Seungho had barged in his bedroom, Lee Jihwa had fled behind the folding shield. Furthermore, his father and the domestic were also present. (chapter 67) This shows that till season 3, Lee Jihwa had never been exposed to real justice. There was always someone ready to intervene for him. And now, you comprehend why the red-haired master felt no remorse to blame his friend for his humiliation in the past. He must have thought that if he had not been in his bedchamber during that night (chapter 59), he wouldn’t have lost his topknot. Moreover, he could also use the other incident in the bedchamber as a justification. If Yoon Seungho had not dragged him there… (chapter 83) This explicates why Lee Jihwa said this to Black Heart and his friend: (chapter 59) The antagonist had witnessed his friend’s humiliation and suffering in the past, just like Yoon Seungho had been present, when the first topknot incident occurred. From my point of view, the lord must have even protected Lee Jihwa. But the problem is that Lee Jihwa was just receiving his punishment in delay for the stolen kiss and his lies (chapter 77) He had kissed him without his consent, thus he got “castrated”. Let’s not forget that the main lead was forced to become a male prostitute, an uke, for he had not been able to perform, to have an erected phallus. On the other hand, Lee Jihwa had done nothing wrong in the bedchamber (chapter 59), for he was consoling his friend, so the loss of the topknot appears as a harsh punishment. Moreover, it looks unfair, for the real perpetrators and accomplices got scot-free. Yet, this is just an illusion. Min and his friend were punished too. They got “castrated” too!! How so? It is because from that moment on, they were not allowed to treat Yoon Seungho as a uke, a male kisaeng. (Chapter 1) This means that the painter’s vision was turned into a reality. That’s the moment Yoon Seungho got turned into a seme. Now, Black Heart and the noble with the mole should become his “playthings”, which signifies that they had switched positions. In my opinion, the pedophile had decided to no longer share his “companion” to others. As you can see, they got punished too, but since this was not painful, they never realized that they were receiving their karma. This was a symbolic “castration”. Under this new approach, it becomes understandable why Min was so obsessed with Yoon Seungho, why he wished to “fuck” Yoon Seungho in a figurative way. This is what he had desired in the past, in the gibang, but he had failed. Thus we have this gesture from Black Heart in the woods. (Chapter 41) Due to the incident in the kisaeng house, Min had lost his privileged position with the king. Hence he got jealous. He could no longer screw” the protagonist, while he had to watch the lord’s slow ascension. To sum up, the loss of Jihwa’s topknot led to the “symbolic castration” of the infamous couple: Min and the noble with the mole.

But it is time to return our attention to the knife and the loss of the topknot. First, it is relevant to remember the following rule. Baek Na-Kyum will through the path than the main lead’s. Since the painter has been constantly cutting his hair, he never had the chance to get long hair and as such a topknot. And the lord was in a similar situation. He only got his topknot very late… but the only difference is that he had a long braid the entire time. This hair dress was the symbol of his servitude. (chapter 57) Hence the author drew slaves with braids constantly. (chapter 77) And now, you comprehend why the pedophile cut off Lee Jihwa’s topknot! The latter had been blamed for the lord’s change of hair dress. (chapter 59) Because of this, Yoon Seungho had become a lord, a noble. That’s the reason why we are not able to distinguish the main lead’s hair dress properly, neither in the last picture and in this one: (chapter 57) The hair was short or not? Now, I don’t think so. The mystery of Yoon Seungho’s suffering is linked to the hair dress, yet the readers shouldn’t realize it too quickly. According to me, he still had the braid, until the doctor questioned why Yoon Seungho still had no topknot. (chapter 57) Don’t forget that in each visit of a physician, the latter would question the butler: (chapter 33) (chapter 55) And who had given him the topknot? Naturally… Kim! Because he didn’t want to be perceived as someone who was violating social norms. However, there is no ambiguity that he hid his responsibility. That’s how Lee Jihwa and his “servant” got framed. They were responsible for giving the main lead the new hair dress. On the other side, I still believe that Yoon Seungho must have lost his hair too, but only once to the difference of Baek Na-Kyum! My reason is simple. Since the painter and Lee Jihwa lost their hair, and Yoon Seungho’s destiny is mirroring his lover’s, it signifies that the lord’s hair must have been cut too. But who did it? Let’s not forget that when Yoon Seungho punished his friend in front of the scholar’s home, (chapter 101) the loss of the topknot had four significations: admission of a sin, mercy, forgiveness but also ABANDONMENT! He was cutting ties with his childhood friend. So he must have known the last meaning, but from a different source, as the first incident represented a sign of leniency. Consequently, I ended up with the following theory. Yoon Seungho must have cut off his own hair, yet he had been manipulated by Kim. Let’s not forget that the painter continues cutting his own hair and there is no sign of trauma linked to such an event. He had been encouraged to lose his hair by his noona. From my point of view, this must have happened between these two scenes: (chapter 77) and this one (chapter 83) The length was almost the same, yet 3 or 4 years had passed in the main time. Let’s not forget that this scene represents the patriarch’s abandonment (chapter 77) and Kim had also experienced rejection from Yoon Seungho (chapter 77) in that scene. For the butler, this gaze could be judged as betrayal and abandonment. Under this new perspective, it becomes comprehensible why the main lead was encouraged to blame and resent his father. If this theory is true, Kim pushed the main lead to cut off his braid, he did it out hatred and anger towards the Yoons. This would mask his own manipulation and culpability too. At the same time, the pedophile could benefit from it. The main lead was now an orphan, thus the bearded man could use him like he wished. I have an evidence for this interpretation. This is what Baek Ha said to her husband: (chapter 23) Being slave meant being orphan. The pedophile could feign ignorance about the main lead’s true origins. If he truly cared for him, he just needed to ask this: papers! (chapter 24) This shows that in Painter Of The Night, all the elders were depraved and violent hypocrites. Like mentioned above, the pedophile had a huge interest to keep the main lead as his slave, thus he was turned into an orphan and asked to keep a braid. And Yoon Seungho’s mother could do nothing, for the son had cut off his own hair, a huge symbolic act. He was no longer considering her his mother. But because of his status as slave, the pedophile could never trust the main lead. Then the suicide from the mother put an end to this farce. Hence lord Song could tell his sex partner that he had become the head of the Yoons and let him “have” the properties, while it was never his intention to let him become responsible. If he had become a lord, he could escape from his claws. He needed him to remain in an infantile and dependable state.

Since I detected that rumors often become a reality, I deduce that after the lord’s vanishing, Heena’s words will come to the surface and become the verity: (chapter 1) While in the past the father could judge this grapevine as positive, for he was portrayed as a honest and respectable man, the town folks will perceive him as the opposite: cruel, depraved and selfish. And this because of the false accusation: (chapter 94) By framing the elder master Yoon, Kim can deny any responsibility in the loss of hair of Yoon Seungho and in the messenger’s death. It was the father’s doing. The nobles like the Lees and Yoon Chang-Hyeon are now accountable for the corpses. In the gibang, Yoon Seungho never killed anyone and he even spared his friend, though the latter had kidnapped Baek Na-Kyum. Finally, the town folks are now aware of Lee Jihwa’s homosexuality and his relationship with the protagonist. So I believe that people will jump to the conclusion that father Yoon had turned his elder son into a sodomite and sold him him to the Lees which is not false too. The king has a reputation to maintain and he needs scapegoats in order to hide his involvement and his crimes from the past.

4. The reason behind the loss of the topknot

And before closing this essay, I would like to point out another similarity between A Sip Of Poison and Painter Of The Night. Though Baek -Ha is the daughter of Nan-Woo’s enemy, the prince couldn’t hurt her in the end, for she saved him: (chapter 33) (chapter 33) She not only treated his wounds, but also helped him to overcome on his guilt. He felt responsible for his brother’s death, for Nan-Woo had attempted once to commit suicide on the battlefield, and his brother had sacrificed himself to protect him. He was definitely plagued with remorse, self-loathing and shame. And that’s exactly what Baek Na-Kyum has been doing too: by simply loving him so selflessly and purely. Finally, Baek-Ha’s fate made him realize the Empress’ immense culpability. She was so greedy and selfish that (chapter 34) she had abandoned her own child! Thus he was freed from his hatred and guilt. Nan-Woo was able to perceive the wrongness of this social norm which was common in Joseon: the child is responsible for the parents’ sins! (chapter 33) Being an orphan outlined her innocence. And since I have already connected Baek Na-Kyum to the mysterious lord Song, I am quite sure that the painter will have a similar attitude than Baek Ha: (chapter 33) He will feel responsible for Yoon Seungho’s martyrdom. And if he is truly his son, his abandonment can serve an evidence of his innocence. On the other hand, the readers shouldn’t forget that his surrogate parents, Jung In-Hun and Heena, played a role in lord Yoon’s torment as well. Thus he can only indebted towards his husband.

Chyomchyom and Byeonduck explained perfectly why the protagonists would suffer so much: ambition. (Doctor Frost, chapter 225) With this picture, the manhwaphiles can detect the presence of the endless vicious circle, the ouroboros, which I had described as a kaleidoscope. The absence of empathy in both stories was the reason why no one stopped the main perpetrators. Woo Jang-Hon felt guilty, for he had raised his younger sister who had become a monster. Kim felt deep down guilty, but chose to reject his responsibility by putting the blame on others. Out of fear, he preferred hiding his wrong decisions and later wrongdoings. And now it has become his MO. This distinguishes him from the general who chose to put an end to his guilty conscience and paid for his crimes.. (chapter 34)

To conclude, the loss of the topknot has many significations: punishment, castration, loss of power, servitude, guilt, abandonment, absence of protection, cruelty, betrayal, but also freedom, loyalty, leniency and forgiveness. As you can see, the gesture is associated to opposite notions: servitude versus liberty, betrayal versus loyalty etc…. as it depends on the perspective.

Thanks to Yoon Seungho, Lee Jihwa was able to free himself from his guilt and he could liberate himself from social norms (peers pressure, his father’s expectations,) and his shame due to his sexual orientation. Before losing his topknot, he had admitted his sins to his friend and it also indicated his loyalty towards Yoon Seungho. And this was the same for the general. The latter could finally find peace in his mind and redeem himself. Yet, now, he is no longer a powerful general, he is just the puppet of the prince. However, the moment the red-haired aristocrat lost his topknot, he was no longer the king’s puppet. Therefore he was no longer useful for the mysterious lord Song. That’s the reason why the antagonist got aware that he shouldn’t expect any forgiveness or mercy from “Captain Hook”. No matter what he would say, he would be suspected of a crime (chapter 101) and this because of the first incident with the topknot!! Since Black Heart and the noble with the mole had been able to avoid punishment after this incident in the kisaeng house (chapter 1), he assumed that he could repeat his actions!! But he got proven wrong, for he ended up losing his life.

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

Painter Of The Night: Heena’s secrets 🔐

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/ 

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

Recently, Lezhin released a message on Instagram announcing the return of manhwas in hiatus for November. And unfortunately, Painter Of Night was not part of them. 😭 Later, the author announced that due to a surgery, the release of season 4 has been delayed. She apologized, for she couldn’t keep her promise. This means, either it will start at the end of December or in January. Nevertheless, this doesn’t change my resolution to keep analyzing this story, for Yoon Seungho’s suffering and the painter’s past have not been entirely unveiled. Like a detective, I am trying to put the pieces of the puzzle together. In this essay, I would like to elaborate my new discoveries concerning Heena which led me to develop new theories.

1. Heena: a mother or a sister?

During season 2, I had trouble to figure out her true identity. Was she the head-kisaeng who had adopted Baek Na-Kyum? (chapter1) Or was she simply the noona? (chapter 70) At some point, I came to realize that Heena had acted as the surrogate mother, but she had never clearly stated that she was the painter’s mother. In other words, his adoption was never official, which explicates why the main lead only considered her as his older sister. This is important, because her ambiguous status can not only generate problems, but also expose her betrayal towards Baek Na-Kyum. Note that in chapter 97, the noona treated Baek Na-Kyum as her “child” who wouldn’t listen to her (Chapter 97), while later she implied that they were both equal, for she employed the personal pronoun “us”. (chapter 97) On the other hand, she used her seniority as status, when she called him a fool (Chapter 97). He lacked experiences, hence he was too naïve, and as such he would trust the protagonist too easily. As you can see, Heena herself had an ambiguous relationship with her brother. Nonetheless, thanks to chapter 93, I got finally a definitive answer about Heena’s true identity. She is indeed the head-kisaeng in the gibang. I realized that the protagonists were invited to stay in Heena’s personal room. (Chapter 93) That’s the reason why the seat of the host was empty and why Yoon Seungho didn’t go there. He would have violated social norms, if he had taken her seat.. Moreover, by doing so, he would have revealed that he knew where the woman was. This could have raised questions.

2. Heena’s study

But how did I come up to this revelation? What caught my attention is the type of the door from that room (rectangles). Its pattern diverges from the ones in the hallway. (Chapter 93) This means that the figures were not sitting in the room shown in the last panel. On the other hand, their voices in the hallway exposed their location. The noonas and Heena were not far away from that door hidden by the veil. That’s how I got aware where Heena’s room was situated. In the last picture, the readers are turning their back from Heena’s study, which is right after the corner. Thus I could recognize the design of the building: ][ In the center, there is this huge hallway with the purple veils, but at its end, on each both sides, there exists a corridor perpendicular to the one with the purple curtains. What the beholder imagined as a door at the end of the hallway, (Chapter 68) was in truth a huge window. How do I know this? First, in this scene, the scholar was hiding a huge white vase with red flowers. Hence I deduced that Jung In-Hun couldn’t have walked through that “gate”, it was just a window. Therefore I assumed that he had to walk past the flowers, either turn to the right or the left. Secondly, observe that next to the lantern on the left, there is a small white panel. This means that the view from chapter 93 was more or less taken from the right corner. Moreover, in the next chapter, Heena is not facing this “window”, when she is in the same building. (Chapter 69) This time, the white vase with the flowers is standing in front of a wall. That’s how I deduced that Heena had to turn to the left in order to go to the hallway. (chapter 69) On the other hand, another element caught my notice. In this picture, (chapter 69) the purple curtain is covering the wall and is very close to the lantern, which is not the case in this picture from chapter 93. (chapter 93) And now, if you pay attention to the curtains in the hallway, you can detect a huge difference. (chapter 69) On the right side, there is no white wall between the purple veils, while it is not the case on the left side. And all these observations (the window in the background, the length and position of the purple veils, the white wall) made me realize that Jung In-Hun and Heena were actually walking in the same direction. At first glance, the beholder has the impression that the learned sir was leaving the building, whereas Heena was supposed to return to her private room. However, as you can see, this is just a deception. Furthermore, what caught my attention is the presence of a tiny window . (chapter 93) which is not present in episode 69. (chapter 93) Since I came to the conclusion that Heena’s private room was on the right side after the corner, I deduce that the kisaeng was not on her way to her room. Moreover, since the kisaeng was walking in the same direction than the scholar, I can only conclude that Heena was actually approaching the entrance of the building. I believe that she had turned around, but the author didn’t reveal this. One might argue that it is possible that in chapter 68, the learned sir could have gone with the painter to Heena’s bedroom. However, back then the latter was not the head-kisaeng. We know this due to the presence of a kisaeng standing right behind Yoon Chang-Hyeon during the sexual lesson. (chapter 86) She was the superior. Moreover, we saw the teacher walking through the countryside during the night. (chapter 70) That’s how I realized that Byeonduck had deceived the readers once again. She was playing with reflections. That’s the reason why I deduced that Heena was not talking loudly by accident in front of Black Heart. (chapter 69) It was done on purpose!! She wished that Min would take care of her brother. Under this new light, it becomes comprehensible why the noona has a drop of sweat on her cheek. She is faking ignorance, she is acting, as if she was very protective of her brother. She uses illusion to manipulate people. In reality, she was acting here. One might argue that I am overthinking again. This is not possible, for Heena didn’t know Min at all. Hence she couldn’t manipulate him. The latter had heard of her for the first time in Yoon Seungho’s mansion. (chapter 66) But let me ask you this. How could Heena have never met Min, when she was the head-kisaeng? Secondly, just because the servant had never heard of the noona, this doesn’t mean that it was the case for Black Heart. The domestic assumed Black Heart’s ignorance, just like the readers. Moreover, recently I had detected that Heena had been standing in front of a mansion belonging to a noble. (chapter 46) This was not Yoon Seungho and Lee Jihwa’s mansion, for the gate and walls (chapter 67) diverge. Moreover, Min has been seen in the kisaeng house in so many chapters , (chapter 19) (chapter 59). Here, I would like to point out that in episode 59, Lee Jihwa had visited the kisaeng house on different occasions, for his hair was slowly growing. (chapter 59) Moreover, note that his visits took place during the day and not during the night. Why? It was for privacy and so far, during the day, the manhwaphiles never saw any kisaeng in the gibang. (chapter 1) (chapter 94) Lee Jihwa was not supposed to meet kisaengs and especially Heena. As you can see, Min had strong connections with the gibang. Hence he should have known Heena, for she was the head-kisaeng. But I would like to bring up a more conclusive proof for this interpretation. (chapter 19) This image was showing us that Yoon Seungho was visiting the gibang. However, pay attention to the pattern of the doors in the last picture and the next: (chapter 19) The motive diverges, it looks like the one from the hallway with the purple veils. This means that the party was not taking place in the room shown in the former picture. What caught my notice is the presence of the white vase with the red flowers in front of the building. It was present in each scene taking place in the gibang. (chapter 68) (chapter 69) (chapter 93) For me, the red flowers symbolize Heena noona. This explicates why during the painter’s dream, the flowers were not present. (chapter 87), as Heena was not included in his vision. And this image (chapter 19) made me think of Yoon Chang-Hyeon due to the writing on the wooden planks. (chapter 44) Due to the similarities, I believe that in chapter 19, Byeonduck was actually exposing the ghost head-kisaeng. Exactly like the father, she was hiding. Why? It is because she is involved in Yoon Seungho’s suffering. And now, imagine her reaction, when she hears that Black Heart has organized a feast for the main lead’s honor. The woman could only avoid the main character. And now, you have the explication why Heena as the head-kisaeng was not present during that festivity. It was deliberate. (chapter 19) Striking is that the kisaeng had a similar hair dress than Heena, This is no coincidence. She was acting as the head-kisaeng. The manhwalovers will certainly remember that only two kisaengs had no braided bun or braids: this one and Heena. Look at all the others: (chapter 51) (chapter 93) (chapter 93) (chapter 95) The extravagant hair dress was exposing the kisaeng’s status. And now, you comprehend why the other noona explained the disappearance of Heena during that night. (chapter 93) She was the head-kisaeng’s right-hand. She had to give an explanation why the noona wouldn’t appear in her bedroom.

But let’s return our attention to chapter 19. What did the kisaeng do during that party? She questioned the main character. (chapter 19) But how could she sense that the noble was in a good mood? The latter was silent and not even smiling. (chapter 19) How could she claim this? In reality she was actually spying on him. Heena had no idea why the lord would come to the gibang, especially after suffering there so much. The kisaeng’s task was to dig up information. This visitation must have bothered the head-kisaeng.

3. Heena and Min

According to my theory, Heena was walking in front of the room where Black Heart was on purpose. She wished to push him to remove the painter from Yoon Seungho’s side. Yet one might reject this thought, because it was impossible for her to know about the man’s presence. The entire time she was looking straight (chapter 69), and Min was sitting on the floor in the corner of the room. (chapter 69) She was even turning her back to him. But actually, she could have detected his presence, exactly like I had recognized him: through his laugh!! (chapter 69) And this would actually reinforce my interpretation that the noona was familiar with Min, and her encounter with him was not recent. Moreover, I would like to point out another discrepancy. This is what the kisaeng claimed to Yoon Seungho: (chapter 99) He was wearing a veiled hat, yet in chapter 69, this was not the case. (chapter 69) They could have seen his face, and as such recognize him as lord Min!! The kisaengs claimed that they had no idea, for they couldn’t see his face. But like pointed out, Black Heart was not wearing a veil in chapter 69! So they could identify him properly. People could have noticed that he was impersonating Lee Jihwa. That’s the reason why the villain had to change the hat!! Moreover, in this scene, he was not alone, he had been followed by his best friend, the noble with the mole. (chapter 69) That’s the reason why the trick with the first impersonation failed. Under this new approach, it becomes understandable why in season 3, Min was no longer followed by his friend and why he was wearing the hat with the black veil. They needed to ensure that no one would recognize his face. That way, the impersonation would be perfect, and Lee Jihwa could be framed easily. But this means that Black Heart must have got aware that the head-kisaeng had tried to trick him with her words in the hallway. This explains why in season 3, the woman got deceived herself with illusions. (chapter 88) (chapter 97) This was her karma. She had spoken with ill intentions (to achieve her goal by using a pawn), therefore she couldn’t speak in front of blood. This is no coincidence that her hands were covering her mouth, the opposite of her behavior in the hallway. Moreover, she had acted, as if she was caring for her brother, but the reality is that she cared more for the scholar than Baek Na-Kyum. In other words, the noona and Min were both fooling each other, they were constantly acting in front of each other. Hence when the noona saw the Joker in front of the scholar’s house, she feigned ignorance, while it was the opposite. (chapter 99) Under this new light, Min’s words get a new signification: (chapter 99) He was implying that they knew each other for a long time! The irony is that the manhwaphiles had the impression that their relationship was recent, and his cynical tone contributed to it. Secondly, he called her Heena, a sign that they were close to each other. Note that Lee Jihwa never mentioned her name. (chapter 99) His words even insinuate that Black Heart had just given the following order. The red-haired master should just fetch a kisaeng and in my opinion, Heena was waiting for Lee Jihwa’s arrival to leave the gibang. He had no idea about the kisaeng’s identity. The moment he arrived in the gibang, she just followed him. That way, they would avoid to attract attention, and with her new hair dress (chapter 99), she could no longer be recognized as the head-kisaeng. And this leads me to the following observation. When Heena was sent to the storage room, she actually lost her position as head-kisaeng. (chapter 93) In other words, when Yoon Seungho jailed her (chapter 93), the gibang had lost its “leader”. This explains why this noona as her right-hand had to explain the absence of the owner. (chapter 93). This scene (chapter 93) was actually announcing the downfall of Heena. She was about to desert the kisaeng house. She was giving up on her possessions and her position for “freedom”.

4. Heena and Yoon Chang-Hyeon

Because of the empty seat, I couldn’t help myself thinking of the elder master Yoon. (chapter 86) The latter had been eyeing the throne in the family mansion, but he failed to take over the mansion. This was the negative reflection of Heena. Whereas the kisaeng had a powerful position in the gibang, it was the opposite for the patriarch. He was no longer recognized as the head of the Yoons. Yet, both have something in common. Both lost their position for good, for Heena and Yoon Chang-Hyeon couldn’t take or keep the seat. We could say that both got defeated by Yoon Seungho. In chapter 93, the main lead acted as a respectful and calm master, whereas in the bedchamber he showed no respect to his own father. He talked back and even made fun of him. (chapter 87) This picture stands in opposition to this one: (chapter 93) To conclude, the surrogate mother and the patriarch made a similar experience in season 3. Both got deceived by manipulations and in both cases, letters played a huge role.

On the other hand, the noona chose to give up on her seat and position in order to avoid trouble with justice. The elder master Yoon decided to act the opposite. He made accusations against his son (chapter 94), definitely thinking that he was doing the right thing. He thought that he could never get into trouble. But this is just a deception in my opinion. As for the former head-kisaeng, she has to run away, for she did something wrong! In the past and in the present! She definitely plotted, and she is aware that her actions will have terrible repercussions.

5. Heena’s departure

This means that Heena chose to renounce on her position and wealth in order to save her own skin! That’s the reason why she faked her death. (chapter 99) No one would be looking for her. The problem is that the witnesses of her curtains all vanished. Lee Jihwa ran away, Black Heart got killed with his friends, and the only survivor, lord Jang, was confronted with real corpses in the shaman’s house. (chapter 102) That’s why I come to the deduction that her murder will be questioned. Why? There is no blood contrary to the bloodbath in the shaman’s house and there is no corpse!! Since Black Heart used different corpses in order to deceive Heena and the couple, there is no ambiguity that the head-kisaeng’s curtains will be doubted. Striking is that Heena staged her death out of cowardice and selfishness, while Yoon Seungho made the opposite decision. He was resolute to commit suicide in order to follow his lover in his death. During that night, Heena and Yoon Seungho lost their “home”, but at the end, he found his true home: the painters embrace. (chapter 102) He gave up on everything (fortune, house and life), hence he will be rewarded for all his sacrifices. Under this new light, I am more than ever convinced that Heena has not reached the bottom. Her karma is to be punished for her deceptions and acting!

As you can imagine, the moment I questioned the relationship between Heena and Min, everything appeared in a different light. It becomes comprehensible why Min would whisper to the head-kisaeng, why she didn’t push away his hand (chapter 96) (chapter 96), though he is a noble. Besides, I am suspecting her of suffering from genophobia (fear of sex and intimacy) Their behavior exposes closeness and a certain trust. But how is this possible? It is because she knows that Min is a sodomite, and he is not looking for sexual favors. That’s the reason why she trusted Black Heart in my opinion. Moreover, he is smiling like Jung In-Hun. Therefore it is not surprising that she was speaking like the Joker in chapter 97. Here, the man had actually projected his own thoughts onto Yoon Seungho, and due to her own belief, Heena was more than willing to believe Black Heart. . (chapter 97) That’s how I came to realize why in season 2, Jung In-Hun was mentioned in front of Min. (chapter 52) It is because Black Heart knew Heena! I even believe that he had already met the scholar. Note that the man with the black hanbok was repeating the rumors about the learned sir. And the other questioned the main lead’s action exposing that he had never heard about this grapevine before. Hence I am deducing that the one spreading this rumor could only be MIN!! That’s the reason why he just said this (chapter 52) That means that the noble knew the teacher in the end. Therefore it is no coincidence that Min was aware where the learned sir lived!! (chapter 83) And now, if you connect the two scenes from chapter 97 and chapter 52 , you can only come to the conclusion that Min was the learned sir’s previous sponsor, but at the end he changed his mind (chapter 52). Why? It is because there was an incident in the gibang!! (chapter 01) And who had covered up the incident? Heena, for she was the head-kisaeng! She had lied to her brother by blaming the biggest victim, Yoon Seungho, who was the man with the braid! This image is a real memory of Baek Na-Kyum from that night, yet from far away, the painter couldn’t see the face of the sodomite! This is another secret Heena has been hiding from her brother!

That’s how I realized that season 3 focused on the “face”, the symbol for identity. The readers could never see the face of all the corpses (chapter 94) (chapter 97) (chapter 97) (chapter 101), and even Kim hid his face under a hanbok. (chapter 92) That’s the reason why I believe that in season 4, the visage will play a major role! The couple will recognize people due to the face!! In my eyes, the former head-kisaeng knows the identities of all the persons involved in Yoon Seungho’s suffering.

Hence I am encouraging you to read Painter Of The Night once again under the following theory: Heena and Min knew each other, and Jung In-Hun had already been in contact with Min…. This is no coincidence that Black Heart had to die at the end. Jung In-Hun was killed, after Min had betrayed and abandoned the scholar. If he had kept his words… the murder of Jung In-Hun wouldn’t have taken place. But let’s not forget that according to me, this scene in the gibang (chapter 1) corresponds to Yoon Seungho’s first liberation. This means that the sponsorship was doomed to fail, because the gods would no longer tolerate the abuse. Min’s promise was short-lived, because his dream couldn’t come true. He had no longer any use of the scholar. This truly exposes that Heena told many stories to her brother in the past and in the present, yet only now, (chapter 97) her brother is detecting her deception.

PS: It would be great, if one of my readers could tell me the name of these flowers

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

Painter Of The Night: The puzzle with the paper 📜 📨 (second version)

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/ 

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

Announcement: The essay “The secret behind curry, apple and butter” has been updated.

Here, I would like to thank my friend Luzyla for her latest observations which made me realize the existence of a new connection!! Before elaborating my new discoveries, I would like to repeat the following principles on which the story was developed:

  1. There is always a reflection within the same chapter.
  2. The next episode is mirroring the previous one, naturally with slight changes.
  3. Each season is reflected in the previous and the future one.
  4. The author is working on positive and negative reflections.
  5. Thus the story is going in circle.
  6. Thus the lord’s destiny is reflected in the painter’s.

That’s the method I am using to unveil the mystery behind Yoon Seungho’s past and as such behind the painter’s.

1. Baek Na-Kyum’s apology

Everything started with this panel. (Chapter 5) Baek Na-Kyum was apologizing for his past behavior. He had insulted the main lead because of the poem. And his words sounded really similar to the butler’s in the library, for they both employed the same expressions: “That day” and “I spoke out of”. (Chapter 77) Striking is that the painter employed the expression “hand”, while the valet talked about “turn”. Why did they do that? It is because when Kim was caught committing a crime, he turned his head! (chapter 68) Thus in the library, the butler excused himself in front of the lord by using the following expression: “spoke out of turn”!! On the other hand, the painter had used his hand, (chapter 4), therefore he described his wrongdoing with the following expression “out of hand”. In my eyes, his words indicate the interference of the butler. Furthermore, the two men had a drop of sweat, a sign that they were not truly honest. (chapter 77) Both were apologizing, as they had wronged the noble. As you can imagine, the similarity in the excuse is no coincidence. The proof that both incidents are reflections is that they have another point in common. The wrongdoings of the low-borns had taken place in front of a gate. The butler had disobeyed his master (chapter 68), and the painter had assaulted the lord by trying to retrieve the poetry. (Chapter 4) Because both characters had violated social norms, showing disrespect towards a noble, (chapter 04) the consequence was that two people were pushed down, the black guard and Baek Na-Kyum. (Chapter 4) In other words, since Yoon Seungho had punished the butler due to the incidents in episode 67/68, I deduce that episodes 67/68 were reflections of episode 4/5 as well!! This corresponds to the rule 2 and 3.

1. 1. Yoon Seungho, the commoners and the Lees

But this doesn’t end here. When the lord caught Kim’s wrongdoing, he was returning from the Lees’ mansion (chapter 68). Since this is the positive reflection, I am deducing that in chapter 4, Yoon Seungho was actually returning to the domain of the Lees, as it should mirror the opposite. (chapter 4) Let’s not forget that just before the great entrance of Black Heart and the protagonist in chapter 67, this was what the author showed us: (chapter 67) And now compare the building to this one from chapter 1: (chapter 1) Under this light, my theory that Yoon Seungho was living with the Lees in the beginning of the story gets reinforced and even validated. In season 1, Yoon Seungho had sex with his friend in the pavilion so that the father and the staff could see the truth: the young master Jihwa was a sodomite. But since we saw Yoon Seungho in that building in episode 1, we jumped to the wrong conclusion that this was his house. But actually, from chapter 12 on, the author was showing us that we had been deceived. This was the lord’s house, and note that there is no building in the big courtyard contrary to the domain from chapter 67 and 1. (Chapter 12) (For more read the essay “Lee Jihwa’s special relationship with Yoon Seungho”) Then in season 2, the main lead forced the elder Lee to hear what he had been denying all this time (Chapter 67), while in chapter 3, he could only witness it from the patio. On the other hand, Yoon Seungho had been proactive during their sexual encounter, hence the father could only blame the main lead for his son’s debauchery. The intimacy in the pavilion was in verity hiding Yoon Seungho’s huge traumas. But due to Lee Jihwa’s confession in the inn, the red-haired master’s reputation got ruined in town and this must have definitely reached the father’s ears. Striking is that when Yoon Seungho confronted Lee Jihwa with his crime (abduction of a person from his household), the red-haired master ran away and hid behind the folding shield. Thus he never apologized to his friend. And it was the same with the elder Lee. The latter knew about his son’s wrongdoing, for he accused the intruder immediately. (Chapter 67) As you can see, the absence of the excuse from the uke and his father outlines that chapter 67 is a reflection of episode 5 and 77. I detect a pattern, chapter 5 contains a superficial apology, chapter 67 no apology and chapter 77 a fake excuse again. Furthermore the manhwalovers can recognize that in the same episode (episode 5), the antagonist Jihwa had indeed wounded the painter with his insult too, a reflection of episode 4. (Chapter 5) This confirms that chapter 5 is connected not only to episode 77, but also to chapter 67/68. We have the same elements: an incident linked to a door (chapter 67), insults towards the main leads, a wrongdoing, the allusion to love (chapter 67), a punishment, but also the absence or presence of an apology. But all of these episodes have other similarities: hypocrisy and arrogance. The Lees were looking down on Baek Na-Kyum and Yoon Seungho (chapter 5-67), while in episode 77, it was the butler who yelled and criticized the noble. (chapter 77) By detecting a reflection between these chapters, I had a new revelation.

1. 2. The lord and the papers

In addition, if the manhwaphiles compare the scene with the painter’s excuse (chapter 5) to the scene with the butler’s (chapter 77), they can detect the fourth parallel: Yoon Seungho’s correspondence. 😮 How is it possible, as in episode 5, the noble never wrote a letter? In fact, he gave the poem to the black guard for the investigation. On the other hand, it looked, as though Yoon Seungho had written a letter (chapter 5), while it was not the case. As you can see, anyone seeing the black guard leaving the owner’s study could have had the impression that the lord had written a letter. This means that this mistake must have taken place later again due to the rule 2! The manhwalovers could discover the deception in chapter 37/38!! (chapter 38) That’s how Jung In-Hun got misled. (chapter 38) Yoon Seung-Won had never received a letter, but the ruined painting. The readers only discovered the trick in the final episode, when the father was looking at the picture. And this connection between a letter and a painting was reflected in season 2. While Min stole the painter’s last creation (chapter 56), Jihwa sent a forged letter (chapter 56). Striking is that the butler was the one who received the paper before delivering it to his sick master. These two scenes (38-56) indicate that the valet is related to the correspondence. Moreover, he was seen delivering the message to Yoon Seungho in the courtyard. (chapter 35)

All this proves that in chapter 5, the butler had seen the black guard departing from the study with the paper in the hand, and he had jumped to the wrong conclusion that his master had written a letter. Therefore right after this conversation, the lord’s table vanished. (chapter 5) It was, as if he was not allowed to write any letter. So where did the table go? To the study!! What caught my attention is that after the first painting (chapter 2), the table had been removed from the study, just like the papers. (chapter 4) This was no coincidence. It had been sent to the lord’s bedroom, but after the lord had tasked the black guard, it was no longer there. This is the indication that someone was interfering with Yoon Seungho’s habit to take a brush. And this can only be Kim. As you can see, the appearance and the vanishing of the small table is the element which was reflected in chapter 1, 2, 3, 4 and 5. And now, look at the scene where Lee Jihwa met Min. (chapter 67) The table had also disappeared. And when did it happen? (chapter 21) The noble had ransacked his own room with his sword. And what did we see in that episode? A paper folded in a book. (chapter 21) In other words, the First Wedding night is also a reflection from these chapters (4/5, 67/68, 77), for it contains the same elements: (chapter 20) an incident with a door, someone is pushed down, a wrongdoing committed against Yoon Seungho (theft), an apology (episode 19) and the importance of the table. According to me, the valet had put the expensive wine on the painter’s table on purpose. To conclude, I see a connection between episode 4/5, 19/20/21, 67/68 and 77.

And now. you are wondering if I am not drifting away from my initial statement, the painter’s apology. However, I would like to remind the readers that in order to write a letter, a person usually needs to have a table in order to write properly. So imagine the butler’s reaction, when he hears from Yoon Seungho this: (chapter 77) He can not trust his words, especially since he views the nobles as violent liars. Why? It is because there was this huge table. This is no coincidence that right after the valet betrayed the main lead and wrote a message to the patriarch. That’s how I had another revelation. The butler is symbolized by the table! Thus he was often seen with this small table (chapter 11) (chapter 17) To conclude, when the butler saw the black guard leaving the mansion, he believed that his master had sent words to someone! That’s the reason why he removed the table and returned it to the painter’s study.

(chapter 5) However, this was just the poem!! This confusion between a letter and a poem should be reflected in season 3 according to rule 3. That’s how I came to the conclusion that when the painter returned to the annex and took the poem, he was actually taking a letter (chapter 97) written by Yoon Seungho, but he envisioned that this was the Spring poem! (chapter 97) We had the same situation. Black Heart had stolen the Spring poem, and the noonas had deceived the protagonists by faking admiration in front of an empty paper. (chapter 93) Since the paper in episode 93 was empty, I could only come to the deduction that this paper contained words!! (chapter 97) Another evidence for this theory is the color of the paper, for the second doesn’t have a shade of pink. Then I suddenly recalled that the artist had received two calligraphies, the one from his beloved and the other from the old bearded man. (chapter 92) The latter’s work was a copy of Yoon Seungho’s poetry, the repetition from chapter 4. Hence you comprehend why I deduce that the paper in the annex was different from the Spring poem. So during that night, Yoon Seungho left a note to his lover, and that’s how the butler discovered that the artist could not read Chinese, for he saw his master writing in hangeul. But there exists another evidence for this interpretation. Baek Na-Kyum had wished this: (chapter 97) The goddess was actually fulfilling his wish, when she reminded him of the Spring poem.

And that’s how I realized why Kim had suggested to his master that two servants should remain by Baek Na-Kyum’s side and bring him back to the mansion. The reason is simple. The two domestics were to divert the artist’s attention, that way the painter wouldn’t read the letter. If the domestics were present, they could give some information to the painter without revealing too much. (chapter 97) If the lord had mentioned in the letter that they had found the corpse of Deok-Jae, the painter would have believed him. However, as you can envision it, the butler and Min were determined to generate a misunderstanding, to create the illusion that the scholar had died. Consequently, the servants deceived the main lead by omitting the existence of the paper. They had not delivered the message properly.

In other words, the letter is connected to a painting and a poem, yet each time, the paper was stolen or misused. Striking is that none of the main characters noticed the switch or the vanishing. We could say that this was Yoon Seungho’s karma for stealing the painter’s belonging. (chapter 4) His own poetry got stolen. But let’s return our attention to episode 5. Since the lord had given the poem to the black guard, this signifies that the lord no longer had the sijo. Therefore he had to write the poem again in order to mask the disappearance. In my opinion, he must have copied the original poetry for the artist in order to prove that he had not been lying. Hence the paper looked different. And this brings me back to the painter’s apology in the patio. (chapter 5) Why did the painter apologize to Yoon Seungho in the end? How did he come up with such an idea? It is because this had been suggested to the artist by Kim. This explicates why he was speaking like the butler. The latter had actually made a huge error, when he advised the artist. Why? It is because he was mixing cause and consequence. In the valet’s mind, the lord had kept the message, for the painter had offended him. So if he were to confess his wrongdoing, the lord would return the poem, and after that, it was just a matter of time, until the painter would desert the propriety. However, the lord had stated this: (chapter 04) That’s the reason why he had taken it in the first place.

Since Kim had been the one suggesting to the painter to beg for forgiveness with the hope that he would get back his poetry, it is normal that Kim was present, when the poetry was returned. (chapter 7) But where is the sijo now?

In my eyes, Kim had witnessed how the paper had left the property in the past, and he had not intervened. Why? It is because of the black guard. (chapter 65) Moreover, I believe that in chapter 65, he had collaborated with the noona. He had shown her the painting of Baek Na-Kyum, while in the study there was a blank paper. As you can see, in season 2, we had again this connection between a painting and blank paper. But let’s return our attention to chapter 5. The black guard was acting on the order of someone else, Yoon Seungho was not the one hiring him. The butler hates ruckus, his MO is to lie low and act in the shadow. If he had retrieved the paper, the man could report it to the master of the black guard. On the other hand, he could have asked the warden about his master’s request. He just needed to say that he desired to assist him, similar to this situation. (chapter 82) Thus I conclude that when the lord returned the paper to Baek Na-Kyum (chapter 7), Kim must have realized his error. He had mistaken the poem for a letter!! This explains why he repeated the trick with the younger master Seung-Won. But unfortunately for him, he was caught by the teacher who asked the painter about the letter the next morning. (chapter 38) Baek Na-Kyum could have realized that the butler had acted behind his master’s back. The problem is that during that evening, the lord had indeed written a letter to his brother (chapter 36), but the moment the latter interrupted the couple (chapter 37), Yoon Seungho chose to hide it. But why is it important? It is because if the painter had mentioned the paper given to the younger master to Yoon Seungho, the latter could have noticed the valet’s meddling and wrongdoing. On the surface, it looked like Kim had written himself a letter to the younger master. In other words, in episode 37/38, the butler gave the impression that he was a spy, for he was acting without his master’s permission. He had even left the propriety, as he was standing outside in front of the gate. Don’t forget that during the meeting, the brother had mentioned that he had sent him many letters (chapter 37), and there is no ambiguity that Kim had intervened. Here, the lord had said nothing, for he imagined that Kim had done it to protect him from his family.

According to my theory, Yoon Seungho was living with the Lees, and as such Baek Na-Kyum had to trespass the propriety in order to retrieve his tools and vanish!! (Chapter 4) But on his way out, he met Yoon Seungho who had just missed the painter’s departure. But there, he discovered that the main lead had stolen his poetry. (Chapter 04) Therefore he was forced to return to the mansion. At the same time, Yoon Seungho was encouraged to come back to the propriety too. He had to keep an eye on the painter. He couldn’t be so sure that the poem was strong enough to keep Baek Na-Kyum by his side. Therefore it is not surprising that in episode 5, Yoon Seungho was seen sitting in front of the window smoking. (chapter 5) He was looking at the gate and as such making sure that the artist’s departure would be noticed. By sending the low-born to the Lees’ mansion, Kim was encouraging the painter to commit a crime: trespassing! But the artist was fortunate, for he was not caught by the lord of the mansion, who preferred hiding due to the ruckus caused by his own son. 😉 As for Yoon Seungho, he came back to the mansion and saw the empty study. Kim just needed to say that the low-born had left to the Lees’ mansion. This is important, because this indicates that in chapter 4, the couple missed each other first! And this situation was repeated in season 3, precisely in chapter 98, when the lord returned from the bureau of investigation (chapter 98)! The lord arrived just after the painter’s departure. And who was with the main lead? Kim. As you can see, the lord’s luck seems not to be on his side, for Baek Na-Kyum had just left the propriety. Once again… the lord was standing in front of the gate!! As for season 2, this time, it was Kim’s fate to miss his master. (chapter 56) The reason for this punishment is simple. He had sent away the artist to the study just before Yoon Seungho regained consciousness. The latter didn’t see that the artist had taken care of him during that night. Thus the butler’s karma was not to notice his master’s departure which stands in opposition to chapter 4 and 98. And note that all these chapters have the paper as common denominator. So imagine the butler’s surprise in episode 4, when he witnessed the artist’s return to the mansion followed by his master. He had sent away Baek Na-Kyum with the hope that the artist would desert the town for good, but no…

2. Kim’s hidden action

Kim must have been intrigued. Why did Baek Na-Kyum come back? He had witnessed the execution of a servant, then he had been abducted before getting imprisoned in the storage room. Finally, he had been threatened and forced to paint an erotic picture. Hence Kim felt the urge to discover the reasons for the painter’s behavior. In other words, he must have interrogated him, the older version of this scene: (chapter 23) The first similarity is the allusion to his bag. The butler was actually thinking that during the hunt, the painter would decide to run away. That’s the reason why he asked about his belonging, for in the past, he only wished to vanish after retrieving his tools. Naturally, the artist saw no harm in the butler’s question and answered truthfully. He must have narrated the argument in the courtyard about the poem. Yoon Seungho had kept the sijo, consequently the painter had used his hand to take it back and had by mistake removed the lord’s hat. Thus Kim must have told him that he just needed to apologize. But one might say that this is just a story imagined by me. The manhwaphiles never saw such a scene. But don’t forget the existence of the reflections. I have definitely an evidence for this theory. Since the butler had manipulated the painter in chapter 4 in order to get rid of this uninvited guest, his karma was to receive a new guest!! (chapter 7) This is not what the valet truly desired at all. He wanted to live in peace. But now, he had three new people he had to serve: Jung In-Hun, the painter and his own master Yoon Seungho who had lived for quite some time in the Lees’ mansion. He had to work!! And note that in this episode 7, we have the following elements:

  • The arrival of a guest, exactly like in episode 4-5; 67/68 and 77.
  • a paper
  • the library
  • a reference to “love”
  • the first appearance of Kim
  • The existence of a deal which is also present in chapter 4 and 77
  • The connection between the letter and a poem (chapter 5-77)

This truly shows that during that night (chapter 77), the valet chose to write a letter in order to denunciate the protagonist. As you already know, attack is the best defense. Exactly like in the courtyard, he badmouthed a noble, this time he must have compared Yoon Seungho to the younger brother Yoon Seung-Won. The latter would succeed with the civil service examination and bring glory to the Yoons, whereas the main lead would only live like an idle sodomite.

Through this contrast, another detail caught my attention. (chapter 7) How did Yoon Seungho know that the learned sir had no connection and was poor? Who had told him that? One might think that this can only be the butler. However, Yoon Seungho had tasked the black guard to investigate and not Kim. Yet, there is no ambiguity that the latter definitely played a role in this investigation. Why? It is because of the expressions the main lead was using: “hardly knows”, “determination”, “labor in vain” which resembles to the valet’s vocabulary, though he embodies the opposite: ignorance, hesitation and laziness. The aristocrat’s description about the teacher is actually questioning the main lead’s actions. If Jung In-Hun was portrayed as poor and powerless, why would he sponsor such a scholar? He would gain nothing. Moreover, with such a portrait, the speaker is implying that only through connections you can achieve greatness. These words are actually exposing the meaningless of the civil service examination. In other words, this description was already insinuating the existence of sodomy, sex in exchange of favors. And this negative depiction of the civil service examination was exposed once again in the gibang. (chapter 93) It was a futile dream. When I had analyzed episode 93, I had explained that the speech from the main lead was influenced by the butler. As you can see, the lord’s narration (chapter 7) was mirroring the valet’s mentality and meddling. He had tried to stop his master from visiting the learned sir the day before. However, I don’t think that Kim is only responsible for this negative characterization of Jung In-Hun in episode 7! Why? First, we never saw the return of the black guard, but when the main lead visited the learned sir’s mansion, he was followed by another one! (chapter 6) There was a switch. That’s how I had this revelation. Heena is the missing link between the learned sir and the protagonist. And observe that in episode 93, we have the same elements again:

An empty paper which is confused with the poem

The incident with the door: (chapter 93) This time, Heena is the one standing behind closed doors, while it was Yoon Seungho in chapter 77

The reference to the library:

The allusion to Kim

The presence of love and affection:

The lord got badmouthed

The fake apology: (chapter 93) In chapter 99, the noonas still lied to him.

An invitation (chapter 93), which was also present in chapter 4/5, 7 and 67/68 and finally 77 ! Since episode 93 is a reflection of episode 7, I could only come to the conclusion that Heena was the one standing behind the black guard! Besides, I had already discovered that Heena was associated to the table as well (see chapter 94 and 68). She represents the link between the butler and Jung In-Hun. She had already collaborated with the valet in episode 65. So from my point of view, she must have received the scholar’s poem with Yoon Seungho’s request. But what could she do with it? Keep it? No… her interference would have been noticed. Hence I believe that the kisaeng was not acting on her own. She was following the orders from the mysterious “lord Song”. At the same time, I think that she is also connected to the Lees. This would explicate why the black guards would change between episode 1, 5 and 6. Finally, according to me, the learned sir had connections to elder Lee, for he had seen the baby Na-Kyum at the gate. (chapter 1) [For more read the essay “Baek Na-Kyum’s origins”] There is no ambiguity that these words (chapter 7) were not reflecting the verity.

In other words, she had been working for two people, just like the butler was turning Yoon Chang-HYeon against the son and the reverse. Both stands for disloyalty. Therefore it is no coincidence that the kisaeng was seen with different black guards in chapter 64. On the other hand, the readers should keep in their mind that the black guard can be seen as a double-edged sword. They can serve as protectors, but also as “spies and as captors”. They could report Heena’s actions to the nobleman who had hired the black guards. Finally, the manhwaphiles will certainly recall the butler’s statement: (chapter 55) Who was lord Song’s contact person then? In the past, I used to think that he was the one receiving the letters. But now, I have a different opinion. I believe, it is Heena! Why? It is because Kim couldn’t identify lord Song’s writing. According to me, Yoon Seungho was sent to the gibang in order to entertain the mysterious “lord Song”. Thereby I am assuming that the kisaeng would receive a word from lord Song and have the main lead fetched from the mansion by the black guards. Heena and Yoon Chang-Hyeon are the only ones seen with black guards, I am excluding the main lead, as he was always more or less their prisoner. As you can see, there is a connection between the noona and the Yoons.

3. Heena and the letters

First, I would like to point out that the kisaeng mentioned letters twice in season 2. (chapter 68)(chapter 69) and in season 3, the noona sent messages to her brother herself. In two different chapters (chapter 91), she is related to papers. (chapter 97) Logically, the noona in connection with the letter should be present in season 1. Secondly, when the woman appeared for the first time (chapter 64), she was accompanied with 2 guards, which is quite similar to the lord’s situation in chapter 1. That’s the reason why I believe that she didn’t keep the learned sir’s poem. Her betrayal could have been noticed and this was the first time that Yoon Seungho was making such a request.

So where is the teacher’s sijo? It was received by the mysterious “lord Song”. That’s how he discovered that his ex-lover was showing an interest in the learned sir. This is important, because the poem will serve as the evidence to identify the murderer behind Jung In-Hun’s death. On the other hand, one might refute this idea, for the teacher was seen in his bedroom with the paper. (chapter 21) But if you look more closely at the paper, you will realize that it resembles a lot more to this one due to the marble effect. (chapter 7) Nevertheless, the paper looks damaged in the previous panel. But this could be the result of anger, like this. (chapter 56) This would follow rule 3. Then according to rule 2 of the kaleidoscope, elements from one episode will be constantly mirrored in the next chapters. And what did we have in episode 19? A larceny… the bottle of wine vanished. Then in episode 20, the lord stole the scholar’s identity, while he stole the painter’s virginity. Hence the lord apologized to the painter for his wrongdoings. (chapter 21) And above I had already demonstrated the connection between the First Wedding Night and chapter 5 and 77! Here the lord was imitating the pedophile’s behavior, hence you comprehend why I think that lord Song was the recipient of the poem. I would like my readers to keep in their mind that the learned sir’s sijo was referring to a painful departure, the loss of a loved one and despair! The beholder could have the impression that the author was suicidal due to the mention of the well and the torment of the mind. Thus I am now assuming that the “mysterious lord Song” will consider the sijo as a farewell, the lord chose to commit suicide and his death was related to Jung In-Hun’s curtains. Why? It is because Heena wrote letters to her brother where she accused the main lead of killing the learned sir. Moreover, Yoon Seung-Won had definitely mistaken the painter for the learned sir. (chapter 37) His position revealed that the main lead trusted the artist. It was, as if he was treating him like his wife. (chapter 97) And from my point of view, these messages were never burned. That way, Kim can put the whole blame on the kisaeng and her brother!! The butler can even reveal how Yoon Chang-Hyeon had harassed the son and tried to frame him for the death of his messenger.

But since “lord Song” was behind the scholar’s murder, he can only retaliate against Lee Jihwa and Min’s friends. Why? Because he will deny his responsibility in the crime, though he was the one who ordered it! Exactly like in the past. He had never assumed any responsibility, he always let others take the accountability. He needs to find a culprit in order to vent his fury. If they had not brought up the learned sir’s assassination, then Yoon Seungho “could have lived” in peace. To conclude, when the lord gave the paper to the black guard, the pedophile had the impression that the main character was rekindling with him, for he was asking for his help. He was far away from him. In his eyes, he had contacted him, “lord Song” alias the king!! And now, it becomes understandable why lord Song sent hanboks and asked Min to organize parties for Yoon Seungho!! It is because the pedophile believed that the main lead was no longer pushing him away or had accepted him. This is not surprising that little by little, the main lead’s hanboks became more and more beautiful. Don’t forget the following rule, the painter’s situation will be mirrored in the lord’s. Thus in chapter 34, Yoon Seungho returned with a hanbok covered with cranes (chapter 34), and shortly after the painter was sent to the tailor. But during that night, the pedophile and Yoon Seungho had missed each other due to Baek Na-Kyum. He was not dead. So when the painter received new clothes, it was the same for Yoon Seungho. Yet, the pedophile was gravely mistaken. Why? The sijo had been stolen, and as such it was never addressed to the pedophile. Furthermore, it is because the lord was suffering from memory loss. Moreover, I believe that the main lead is not aware of the true identity of his sexual abuser. In his mind, it is just lord Song. But this doesn’t end here.

According to me, the main lead wrote a letter to his lover in the gibang. This signifies that someone else must have done the same due to rule 1 and 2. The reference of the Spring poem in chapter 97 indicates the presence of a letter in the previous episode or the next! From my point of view, Min must have asked the kisaeng to contact “lord Song”!! And don’t forget that in season 2, we had a forged letter. (chapter 57) And who was behind this? Black Heart’s friend. But then it came to my mind that Black Heart had stolen the Spring poem… so he could have sent the paper to lord Song and the latter would have mistaken it as a letter from Yoon Seungho, the latter was reaching out to him. He was wishing him luck!! So imagine that when the man arrives in Jemulpo, he imagines that the main lead is waiting for him only to discover that Yoon Seungho vanished. He wished to die because of the loss of a loved one. And that’s how he will recall the poetry of the learned sir… the reflection of this night!! (chapter 94) In episode 4, the lord had laughed about the sijo, but it was no longer the case in the kisaeng house. In my eyes, the pedophile will go through the same experience. Yes, the effect of the kaleidoscope. He will perceive the learned sir’s poetry under a different perspective. Only in that moment, he will realize the suicidal tone in the sijo. He will question how Yoon Seungho could become so desperate and suicidal so suddenly. And now, you comprehend why Heena was trembling in front of her brother, and why she had planned to leave the gibang that night!! She was aware of the arrival of “lord Song”. She knows how cruel and ruthless he can be.

And Lee Jihwa’s words will become a reality. (chapter 101) Blood will flow… The proof for this expectation is that chapter 67, 77, 82 and 93 are all referring to punishment. Kim had been beaten in episode 77, while the kisaeng was imprisoned in the storage room. Moreover, we have the use of the sword in episode 21 and 67… and during these nights, the protagonists had made love to each other.

4. Father Lee’s message

Since the Lees are connected to paper in the form of the paintings and the letter, (chapter 5, 10, 15, 17, 56), I had suddenly this question! Why didn’t Lee send a word to Yoon Chang-Hyeon? Why did he have to visit him during the night? (chapter 82) (chapter 82) It is because he didn’t want to leave any evidence of his intervention. No one should notice that he had paid a visit to the patriarch either. His visit should remain a secret. He was actually afraid of getting detected. The reason is simple. He was fearing the person standing behind Yoon Seungho, lord Song. He had two reasons for this. First, he could see that Yoon Seungho was no longer treated like an animal or male kisaeng. (chapter 67) He was even better dressed than his own son. The hanbok was exposing the support from the “pedophile”. Secondly, the main lead had threatened him. (chapter 67) Here, the lord had just insinuated that if something like that happened again, he would go to the authorities. However, since this threat was rather ambiguous, the patriarch Lee could only interpret it that way. The main lead would report the incident to the “mysterious lord Song”, alias the king. And father Lee knew that he could get into trouble. Furthermore, since these elders are all hypocrites and liars, there is no doubt that father Lee feared that the protagonist wouldn’t keep his words. That’s the reason why he approached the father. He hoped that Yoon Chang-Hyeon would intervene and impose his will onto his son. He would tame the main character. In other words, episode 82 is a reflection of chapter 4/5, 19/20/21, 67/68 and 77. The first common denominator is the allusion to letters. The messenger’s words revealed that Kim had contacted the elder Yoon, for he already knew his name, though the latter had never met the domestic. Secondly, the “letters” were delivered orally: (chapter 82), and even in person: Father Lee and the emissary. Third, the elder Lee badmouthed Yoon Seungho by mentioning the incident from chapter 67, and refused the invitation of his host (chapter 82). Finally, he called Baek Na-Kyum a peasant exactly like the main lead in front of the gate: (chapter 82). But more important, the old bearded man expressed this fear: the loss of his family home! (chapter 82) And remember that I had detected the presence of the Lees’ mansion in episode 4 and it was also present in chapter 21 and 67! And what had the butler done during these chapters? He had tried to chase away the painter and as such Yoon Seungho. The latter was not supposed to live in the Yoons’ domain. And this will be the Lees’ karma to be driven out of their own house!

5. Conclusions

And now, you comprehend why the sijo from season 1 has not appeared yet. The couple will be able to identify the culprits with the “letters”, the poems. Remember the kisaeng’s words: (chapter 97) The absence of the messages was the evidence of the main lead’s wrongdoing. However, the moment the letters resurface, they will expose the noona’s lies. It doesn’t matter, if she had been deceived. She chose to trust the butler, without verifying the facts. To conclude, the poems will serve as proof for the crimes and I would even go so far to say that the papers, mistaken for letters, are the tools to expose the truth. Yoon Seungho had never contacted lord Song, for he hates him to the core. He is connected to his suffering and martyrdom, therefore he can only view the man as the bird of misfortune, while the latter had the impression that he was now getting closer to the main lead. Consequently, he considered him as his crane! But this man is exactly like Min, totally dishonest and irresponsible. I couldn’t help myself thinking of this folding shield again: (chapter 83) It vanished, and as such it was stolen. Did the mysterious lord Song take it away in order to force Yoon Seungho to paint? The older version of this scene: (chapter 4) And remember that the “paper” is also connected to paintings. However, since this is a reflection of episode 4, I am more inclined to think hat the real purpose was to take the picture and the man had never the intention to return it. Naturally, at some point, the man had a change of heart concerning the main lead, for thanks to him, he could outlive all his sexual fantasies. And this leads me to the following conclusion. The moment, Yoon Seungho sees this painting again, he will recognize the identity of the thief. To sum up, the paper is the proof of wrongdoings, thereby we have this publication: (chapter 1) The paintings were illustrating that the pedophile was having sex with a minor.

PS: I have still so much to say about the comparison between chapter 5 and 77 and the “paper” that I will write another analysis about this.

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

Painter Of The Night: The rise of the dragon 🐲

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/ 

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

1. Yoon Seungho the king

After the end of season 1, I had been contacted by many followers asking me about the possible ending of Painter Of The Night. Many feared for a depressing ending, as Byeonduck had declared that the protagonists would be happy on their own. In their mind, this meant that the protagonists wouldn’t end up together. My reply was that the couple would become happy without getting too dependent on each other. I meant Yoon Seungho and Baek Na-Kyum would come to give a new sense to their own life, and their love would help them to have a goal and purpose in their life. And that’s how real couples live. Thus while examining season 1 closely, I came to imagine that Yoon Seungho would become the king and Baek Na-Kyum his painter. As you can see, very early on, I connected the noble to royalty. Why? First, we had the lord outlining his powerful position in front of the painter. (chapter 11) Secondly, I had associated the main lead to the eagle which is the symbol for the kings and emperors in Europe. He was seen here flying (chapter 30), and his fingers reminded me of the eagle’s claws. (chapter 18) And this perception got even reinforced, when I saw this panel: (chapter 52) In this scene, he was sitting like a king surrounded by his “court”. The hanbok had such a design that I couldn’t help myself associating it to Joseon’s monarchy.

However, I have to admit my mistake, for this interpretation was strongly influenced by my own culture and as such European history. Yet, here we are dealing with Korean and as such with Joseon culture. Hence the symbol for Joseon’s dynasty is not the eagle, but the dragon. That’s why when I saw this new image on Twitter , I had another revelation. On the one hand, it actually confirmed that Yoon Seungho was somehow destined to become a king, yet he is not represented by the eagle or the phoenix, but by the dragon. Hence the moment I saw this image, one idiom came to my mind: Dragon king!

2. Yongwang

Because of this sudden association, I decided to look more into it. Thus imagine my surprise, when I discovered this:

https://www.koreatimes.co.kr/www/nation/2022/10/113_324712.html

Yongwang, or Dragon King, is a deity of the river or the sea, overseeing peace in the house, good health and longevity in the family, the harvest, catch and safe sailing. Yongwang is also called Yongsin (Dragon God).

Communities worshipped Yongwang as a water god, holding divine powers to control rainfall. Dragon King worship is closely related to the contemporary practice of staging rituals at village springs or wells that are believed to be dwelling places for Yongwang. Around the country there are also legends regarding dragon springs and dragon wells, created by a dragon that brought rain to repay humans by turning wasteland fertile, which shows that Yongwang is closely related to farming. […] In shamanism, Yongwang oversees not only fishing, but the souls of those who have drowned and died. In the worship of household gods, it is a deity that oversees peace in the household, good health and longevity in the family, the harvest, catch and safe sailing.

Among rituals held for Yongwang in the home by women, the most widely spread is yongwangmeogigi (feeding the dragon king), also referred to as yongsinje (dragon god ritual) and gaetje (fishing ritual). This ritual can take place in three different venues: First is a private well in the backyard; second is the communal well, where, in some cases, a spring ritual (saemje) is held, then water from the well is brought to the home and placed in the kitchen or on the sauce jar terrace for the Dragon King; […] https://folkency.nfm.go.kr/en/topic/detail/2618

The moment I read this article, I couldn’t restrain myself making the parallels between Yoon Seungho and Yongwang. First, the deity in the background reminded me of Yongwang. (chapter 100), though this deity is always accompanied with a dragon and in this picture, the readers couldn’t see one. However, it is possible that the author didn’t desire to reveal too much.

“his most distinctive traits are that his beard, moustache and eyebrows are (usually) “spiky,” protruding in sharp points, sometimes resembling coral, and his eyes are often bulging out like those of a fish. He most often holds the banya-jinju (般若眞珠, flaming pearl of wisdom, a type of ma-niju 摩尼珠), but sometimes a branch of coral or a sword.” quoted from http://www.san-shin.org/EKB-Yongwang-DragonKing.html  

Secondly, we have a strong connection between rain and the main lead’s situation and emotional state. It rained, when the lord had sex with Baek Na-Kyum. (chapter 21) Why? It is because the lord was happy. These were the tears of happiness, which Yoon Seungho couldn’t express contrary to the painter. And this is no coincidence that in chapter 58, it started snowing, when the couple was making love: (chapter 58) And we had the same weather, when Yoon Seungho saved his lover. (chapter 102) The weather was expressing the main lead’s emotions: tears of happiness or sadness. We could say that the lord has the “power” to move the sky.

Furthermore, the well plays a huge role in this story. Many people are found dead in a well (chapter 97), and according to me, the messenger was drown there. (chapter 94) In addition, my theory is that Deok-Jae and/or Jung In-Hun’s body were placed in a jar in order to hide the murders. For me, the jar plays a huge role in Painter Of The Night… thus Byeonduck created such a scene in season 2 (chapter 46) and we have so many jars next to the pond: (chapter 94) [For more read the essay “The secret behind the library”]

Furthermore, this story takes place in Jemulpo, a town situated next to the sea, and Yongwang’s realm is supposed to be in the sea. (chapter 91) This is no coincidence. To conclude, all these elements (rain, jar, well, soul of a deceased), connected to the dragon king, are present in Painter Of The Night. Thus I came to the conclusion that Yoon Seungho is like Dragon king. This reinforces my conviction that the main lead is not only connected to shamanism, but also embodies royalty. So he might not be the king of Joseon, but he is powerful in his own way, though he is not aware of this. And note that the moment he wished to commit suicide by drowning in the pond, he was brought back to life. (chapter 102) Water is his true element.

In different temples, you can discover Yongwang accompanied with a woman. She is also dressed in royal clothes with a small crown. What’s unclear is if she’s another Yongwang or if she’s his wife. And this could be a reference to the painter, who will become Yoon Seungho’s bride, but his true identity will remain hidden.

What caught my attention is that the rituals concerning Yongwang are held by women, which stands in opposition to the shrine and Confucianism. (chapter 85) This means that in the Yoons’ mansion, people didn’t venerate this god. And since the aristocrat made such a statement to the elder Yoon Chang-Hyeon, (chapter 86), I have the impression that in season 4, we will assist to a real ritual to ward off evil and back luck, leading the tormenting souls to the afterlife peacefully.

And this leads me to the following observation, the dragon in Korea and Joseon is perceived as a good omen! He would bring good fortune.

Since the release, I realized that the decorated tree (chapter 100) and this altar (chapter 100) were exposing the presence of a ritual. However, my problem was that I couldn’t determine exactly the nature of the ritual. But by making the connection between the dragon and good fortune, I had now more clues. I have to admit that I can not be 100% sure for this, but this is what I found:

Yonggyeong (Kor. 용경, Chin. 龍耕, lit. dragon’s plowing) is a custom observed on Dongji (Kor. 동지, Chin. 冬至, Winter Solstice) in which people tried to predict the outcome of farming for the upcoming year based on the direction and angle of cracks on the surface of a frozen pond. The custom is also known as yonggari (Kor. 용갈이) or yong-ui batgari (Kor. 용의 밭갈이), both meaning ‘plowing by the dragon.’ When ice covers a pond, there is often a crack that divides the ice sheet into two halves, as though a field were divided along a furrow left after plowing. This phenomenon was considered a trail left by a dragon and, therefore, interpreted as having divinatory power concerning farming success in the year ahead. […]

According to another custom referred to as dongbok (Kor. 동복, Chin. 凍卜, lit. ice fortune-telling), on the eve of the year’s first full moon (the fourteenth of the first lunar month), people left two bowls of fresh water out overnight and positioned them north and south of each other. The next morning, they examined the ice sheet that appeared in the bowls and tried to predict the success of farming in the northern and southern regions.  quoted from https://folkency.nfm.go.kr/en/topic/detail/4622

The timing fits to our story, and we have the presence of bowls in front of the deity in the yard. In my eyes, the shaman had prepared a ritual for the dragon king, and was praying for the success of the farming. Don’t forget that it takes place just before Spring. Consequently, this is not surprising that the lord got connected to peasants and this very early on. (chapter 4) (chapter 6) (chapter 82)

This observation leads me to the following conclusion: Yoon Seungho, as a new version of Dragon King, will bring luck to the commoners and peasants. He will help them to improve their living conditions (education and good farming). As you already know, I consider Yoon Seungho as a representative of Sirhak. [For more information read the essay “The scholars’ fight”] And now, you comprehend why very early on, I expected that Yoon Seungho would become a king. He doesn’t need to become a real “king”, yet there is no ambiguity that his fate is to become famous as a spiritual and fair leader.

3. Dragon and imoogi

That’s the reason why I started looking for more information about the dragon. As the readers could see through the deity, this mythical animal is strongly connected to water!

What caught my attention is that the Korean dragon has no wing, yet it can still fly and he has no beard!! But more importantly, this creature is a combination of different animals: the body of the snake, the antlers of the deer, the forehead of the camel, the nose of a pig, the ears of the cow, the claws of the hawk, the scales of the carp, the fist of a tiger and the eyes of the rabbit! He contains all the strongest features of these animals:

  1. luck for the pig
  2. strength for the tiger
  3. elegance of a deer
  4. stubbornness and resistance of a camel
  5. compassionate and giving nature of a cow
  6. the constant change, the metamorphosis of a snake (cycle of death and rebirth)
  7. the rapidity of a hawk
  8. fertility of a carp
  9. the abundance of the rabbit by sharing its eyes

In other sources, I read that the Korean dragon had also features of the dog, the frog and the sheep. But why does this mythical animal possess so many features from different creatures? It is because this powerful, God-like creature embodies the love and respect Korean people have for the natural world. I would even say that he represents nature, and as such he stands for harmony and justice. By being sharing features of different animals, he can understand their life. This is not surprising that the Joseon kings utilized this animal as their emblem. It symbolizes their power (omnipotence and “immortality”) while substantiating their ability to be fair and just rulers. 

Striking is that we have an allusion to these animals in Painter Of The Night. First, the lord was able to kill the boar (chapter 83) and the deer (chapter 22). Then the lord compared Baek Na-Kyum’s eyes to a rabbit. (chapter 78) Since both resemble each other, I deduce that the main lead has the same eyes, the rabbit’s. Like mentioned above, he utilized his fingers similar to claws: (chapter 18) He would fly like a bird, though he has no wing (chapter 30). His fists in this scene reminded me of a tiger’s: (chapter 54) One might argue that this signification is totally impossible, for the lord doesn’t have the body of a snake. This point can be refuted very easily. What is the major characteristic of a snake is molting. A regularly recurrent event during the activity period of all snakes is the shedding of the skin. This coincides with the lord’s change of clothes. The latter reflected his downfall and rising. Furthermore, this animal is linked to death and rebirth. My avid readers are already aware that I had detected different scenes, where we could witness the lord’s spiritual death and rebirth, like for example in the shed: (chapter 62) When he discovered his misjudgment the next morning, he felt like dead. He no longer saw himself as a lord, but came to view the painter as his new lord : (chapter 66) As a conclusion, Yoon Seungho shares so many similarities with the dragon that I came to view him as one. This explicates why even after getting married, he will never wear a beard! The change of dresses and hair dresses of Yoon Seungho represents the different social status in Joseon society: young master, painter, male kisaeng, slave, peasant, executioner, servant, lord, concubine, “wife”/husband” etc. Moreover, since I had detected parallels between the protagonist and the legend of Dangun, this could only reinforce my conviction that Byeonduck is referring to old tales and religions (and as such Dragon King) in her story. The author has already stated that she won’t create a story with the couple set in our time, and this becomes understandable, if she is constantly referring to old traditions and myths.

According to different sources, the Korean dragon is not born as such. They were once said to be Imoogi , a giant lizzard that resembles sea serpents. They exist several different versions on how Imoogi become Dragons. One said it would take a thousand years for them to become a dragon, while another says they must catch Yeouiju (star) falling from the sky. Thus in temples and in pictures, the Korean dragon is also always represented with a ball.

Another theory that exists and sounds the most logical to me, says that Imoogi was born in a place where living and dead intermingled. It was created in cave where thousands of people were stuck due to war in 420AD. As more and more people started to die in the cave, their intense agony and suffering led the foundation for Imoogi’s birth and therefore it symbolizes destruction and sadness. Imoogi controls the power of birth, death and rebirth. Ouroboros, a symbol of wholeness/infinity is also represented by a snake(serpent) eating its tail.” quoted from https://rtaori60.medium.com/imoogi-the-great-lizard-aca02c6c9b1e

Since it takes 1000 years for an imoogi to transform into a dragon, we have 10 years of suffering in Painter Of The Night. For me, this is not random at all. This means that after chapter 102, Yoon Seungho turned into a real dragon! This corresponds to his Coming-Of-Age. That’s the reason why I don’t think that he will be manipulated again like in season 2 and 3! My avid readers are already aware of the presence of ouroboros in this manhwa. For me, Kim symbolizes the imoogi and Ouroboros! He could never turn into a real dragon. But why does the imoogi need to wait for so long ? Some say that this is a curse, other traditions hold the idea that Imoogi are “pupae” or “larvae” of dragons. And they will become full-fledged and full-fledged dragons after being in the ocean for 1000 years. This signifies that time, experience and patience are essential for this transformation. Thus not every imoogi can become a dragon in the end, and that’s Kim’s fate. He was not able to recognize Yoon Seungho as his “yeouiji”. The shaman’s house reminds me of the cavern (chapter 102), and thanks to the painter, Yoon Seungho’s soul was able to escape this “mental prison”.

And this leads me to the following aspect: Baek Na-Kyum is the lord’s Yeouiji, his fallen star fulfilling all his wishes. That’s the reason why the dragon is never seen without his star. One might say that this is exaggerated. However, my avid readers should remember that I had associated the painter to a star, the sun, in previous essays, even before making the relation between the dragon and Yoon Seungho! This explicates why the lord is carrying his lover like his bride (chapter 45) (chapter 102), similar to the dragon in the picture above. His “star” serves as his guide, support and his source of life. Thus when the main lead confessed to the painter for the first time, the sun entered the bedchamber (chapter 55) and as such his heart and mind.

Therefore I come to the conclusion that in season 4, the readers will witness a clash between two dragons, the king and Yoon Seungho! The fight between the fake and the real dragon! Thus when the author released this panel recently, (Twitter), she was actually announcing the arrival of the monarch in Joseon. Hence you comprehend why I selected such a title, the rise of the dragon. “Lord Song” can no longer hide his true identity.

4. Dragon king and expulsion

My readers will certainly recall that the starting point of this essay was this expression “dragon king” which came to my mind, when I saw the recent publication. Why? First, the main figure was wearing the gonryongpo (곤룡포), where dragons are sewn on it. This hanbok is the everyday robe for the king which explains why the latter is always wearing the red robe all the time he appears in front of people. Hence I made this association in my mind: dragon king. When Byeonduck published this image, , she was naturally creating a new story, another Alternative Universe. The student Baek Na-Kyum who got bullied by the classmate Deok-Jae was suddenly sent back to Joseon, and appeared in front of the king’s bedchamber, Yoon Seungho.

Striking is that this panel resembles a lot to this picture which the author hasn’t used yet: The painter is sitting inside a room, while Jung In-Hun is standing outside. Nonetheless, the position of the characters are very similar. This indicates that the author’s new alternative story is actually inspired by the main story!! This can only reinforce my perception that Yoon Seungho in the main story is associated to royalty. However, since it is a reflection, I deduce that this image is the positive reflection of this scene: How did the learned sir react here? He criticized the painter by stating that this was “filthy”. In this scene, the characters are caught by surprise, but it becomes obvious that there is no disgust or expulsion. In fact, the fall of man took place before, for Baek Na-Kyum was sent to Joseon. In this encounter, I detect attraction and curiosity. Hence I come to the conclusion that in the original story, when this scene took place, , Yoon Seungho was far from being living like a king. As you already know, according to my interpretation, the protagonist was treated like a male kisaeng. That’s the reason why I believe that this scene played a huge role in Yoon Seungho’s liberation, the physical expulsion from hell in the end. Since in the parallel story, the student experienced time-travel and as such rejection and expulsion, I conclude that in the main story, Yoon Seungho must have made a similar experience! But this doesn’t end here, as the readers should keep in the mind the following rule: The painter’s destiny reflects the lord’s.

On the other hand, the manhwaphiles will complain that so far, Yoon Seungho has never appeared as a dragon. Yet, we shouldn’t overlook that the phoenix is the symbol for the Queen in Joseon. (chapter 50) (chapter 52) This means that the mysterious lord Song was actually claiming the main lead as his wife in the last scene. Min and his friends were sent there in order to entertain the protagonist, but they failed. This explicates why the next day, Black Heart was seen with a hanbok of lower quality. (chapter 56) It was, as if Min had been compensated for his bruised face by the mysterious lord Song. However, for the pedophile, Black Heart was just a concubine, and not his main wife! Hence the hanbok had not such a detailed and expensive design. This would explain the villain’s jealousy. And now, if you look back at the hanboks from the main lead, you will recognize his ascent. First, he is wearing green, which is similar to Yoon Chang-Hyeon’s color. At the same time, his hat resembled a lot to Kim’s. (chapter 1) Then later, he is mostly wearing blue which is actually the color of the Crown prince. (chapter 11) Yet, his robes initially have no design. Slowly, the lord is wearing colors and designs that are actually reserved for a king: blue, red, black and purple. This constant change of hanboks symbolizes the “snake molting” and as such his transformation and rising. This is not astonishing that on the night of the bloodbath, he had such a hanbok: (chapter 102) Here, he was no longer acting like a noble, but as a ruler. Don’t forget that according to me, the mysterious lord Song had proclaimed the main lead as his unofficial Queen by giving him hanboks with phoenixes. However, naturally, this was never mentioned to Yoon Seungho directly. Why? It is because Kim usually selects his clothes. However, this rise was not natural, as the lord had no real saying in this matter. The real metamorphosis took place in the shaman’s house, when the lord was sent back to the past and as such the darkness. (chapter 102) The moment he left the “cave”, he went to the mountain and surrounded by the wind and water, he changed into a dragon. This expulsion corresponds to the final release, the lord’s mind is finally freed from the darkness, while I believe that this scene is linked to the lord’s physical liberation. .

5. Nightmare and dream

Above, I had mentioned that the painter was the dragon’s fallen star and the love sessions were strongly connected to the weather. If so, why did it snow, when the learned sir left the mansion? (chapter 44) It is because the main lead was thinking that the painter would actually run away. Thus the door was left opened, and he was wearing warm clothes. Yoon Seungho never imagined that Baek Na-Kyum would remain by his side. Yet, during the previous night, the lord had consoled his lover by embracing him.

Furtheremore, the manhwalovers could also wonder why the lord had a nightmare in the bedchamber after their second love session? The painter’s presence should have brought relief. Moreover, during that night, there was no rain. (chapter 71) But this can be refuted easily. First, don’t forget that during this love session, the lord was acting like a servant pleasing his new lord. So this had nothing to do with Yoon Seungho’s feelings like sadness or happiness. He was determined to keep the painter by his side, and ignoring his own feelings. He never expected the artist to reciprocate his feelings. Secondly, Yoon Seungho’s nocturne vision is not just a nightmare, but also a DREAM! Yes, you are reading this correctly. Only recently, I discovered that all the artist’s visions are a combination of 3 elements: memory, nightmare and dream! I will give you three examples as illustration, for I am slowly running out of time.

Chapter 28: This vision is a combination of these three elements: memory, nightmare and dream. This had happened during the First Wedding Night (memory) (chapter 21), then we have a similar situation in chapter 49: , , but the painter was rejecting this future. Hence he considered it as a nightmare.

  • Chapter 34 : Memory ; nightmare the lord becomes a ghost and confronts the painter with his biggest fears (admitting his attraction, passion for erotic paintings and homosexuality) and dream (The painter’s true desire was that the lord would kiss him, he was deeply longing for his lips, yet he was still in denial in this vision.
  • Chapter 98: Memory, for the painter was remembering the corpse in the courtyard, a dream, as he wished the return of his loved one . He hoped that the lord would take care of him personally. Naturally, the “spirit” is the nightmare .

Since the lord’s fate and personality are similar to the painter’s, I could only come to the conclusion that the lord’s vision in the bedchamber is not just showing the past and the future horror. It also exposes the lord’s dream and hope! 😮

So where were his desires visible? First it was about breaking free from his jail… (chapter 74) This had already happened, but the lord had not grasped the significance. (chapter 53) Besides, he had not opened the door himself. Even when he went to the scholar Lee and opened the door with the his foot, the lord still felt trapped. (chapter 67) Then in season 3, he could break a door, but it was thanks to the painter. (chapter 96) This shows that the lord’s wish to get released had not been fulfilled so far. In my eyes, it is connected to the torture Yoon Seungho suffered and as such to the purge organized by the authorities. That’s the reason why I deduce that the lord will break a door in season 4, and this won’t be by accident and it will be witnessed by many people contrary to chapter 53, 67 and 96! The broken door will reflect the lord’s rise and power, and no one will be able to stop this. In my eyes, this wish is connected to the door in the servants’ quarter. That’s how his imprisonment started.

Moreover, the protagonist was voicing his thoughts, the reproach to Kim and his father! They had abandoned him. (chapter 74) The “dragon” wished to see Kim and his father, and confront them! And this did take place in season 3. Yoon Seungho confronted the butler with his attitude and betrayal (chapter 77), but this argument was just short-lived. He still viewed the valet as a hard-working and trustworthy person. He had just made bad decisions. Then in the bedchamber, the lord could blame the father for his suffering: (chapter 86) As you can see, the lord’s wishes were granted, but the nocturne vision was so difficult to grasp that neither the readers nor the main lead could interpret the message correctly immediately. Besides, the nightmare was mostly silent. But this doesn’t end here.

(chapter 74) In this image, he is floating in the air… a sign that his status is changing. At the same time, this shows that he is escaping from the hands. They are trying to drag the main lead down. Thus I come to the conclusion that the vision was announcing the lord’s transformation (into a dragon) and as such his “rise”. Note that in this image, he is still a teenager, but in the following panel the protagonist has already become an adult. (chapter 74) Simultaneously, the vision also displays the lord’s expulsion from “hell”, the sex orgies (chapter 74). the hands are trying to bring him back. This image displayed that Yoon Seungho would become powerful, and the hands wouldn’t be able to contain him any longer. The pink is a reference to the painter, and not just to the gibang! Thanks to the painter, Yoon Seungho is changing so that he will be able to face the KING, but not only him!! This is what the dream was telling him too. Thus we have this image: (chapter 74) Simultaneously, the dream showed that the lord wished to see this painting again, though deep down, he blames this image for his suffering. As you can see, the vision was revealing the tormented disposition of the lord. He was switching from nightmare to dream and the reverse… a mixture of anxieties and desires.

However, pay attention that the painting was standing behind Yoon Seungho, when the hand grabbed him (chapter 74) This signifies that he was approached by someone from behind, he had not noticed that the “door” had been opened. Thus he never expected his apparition. For me, this perception demonstrates that the painting is not the real cause for Yoon Seungho’s suffering. Since he had turned around, I came to recognize that this scene stands in opposition to the situation in the painter’s nightmare: (chapter 34) The painter had been able to witness the entrance of the ghost contrary to Yoon Seungho. The latter was caught by surprise. This image illustrates the lord’s biggest fear. That’s how I realized that his biggest nightmare is not the pedophile in my opinion, for the main lead in Baek Na-Kyum’s “nightmare” (chapter 34) stands for attraction, honesty and love… thus it should be the opposite in Yoon Seungho’s nightmare: repulsion, betrayal and resent! He fears to admit the truth, the biggest traitor is Kim, but he is still in denial. He has repressed the terrible betrayal from Kim, just like the painter’s, though I think that the biggest traitor in Baek Na-Kyum’s case is not really Jung In-Hun, but Heena. This would explain why Heena noona was not present in the terrible vision in chapter 34. This is not random that we don’t see the face of the owner’s hand. Naturally, the king was involved in this betrayal, for Yoon Seungho is caught between the hand and the painting. He was trapped between two forces.

This means that Baek Na-Kyum will help Yoon Seungho to face the truth: Kim is a traitor and the king is the pedophile. The vision is indicating that the butler will betray him again in the future, backstab him one more time… However, this time he will recognize his action. Why? Because this time, there is light in the room… as Baek Na-Kyum symbolizes the Yeouiju, the fallen star helping the dragon. If the author presents another dream from the main lead, we will definitely get new clues. And this brings me to the following conclusion:

Yoon Seungho had been portrayed as a bird of misfortune on purpose. (chapter 86) In reality, he was a dragon, who could bring luck and fortune to the person who would cherish him. This is no coincidence that the pedophile sent hanboks with the crane (chapter 34), (chapter 45) In his eyes, the main lead brought him luck, as all his wishes got fulfilled, and he was never caught committing a sacrilege or crimes. However, since the presence of Baek Na-Kyum by Yoon Seungho’s side, it looks like nothing is going like planned. The main lead is not only drifting more and more away from him, he even left everything behind. That’s the reason why I believe that the dragon, the king, will vent his anger on many people in season 4, a new version of this scene. (chapter 30), but much more brutal and violent!  While this “dragon”, the king, stands for court, and as such civilization and immobility, the Korean dragon embodies nature and hope for commoners who dreamt of ascending the ranks! This is not surprising that Baek Na-Kyum is slowly ascending the ranks, while in the past Kim was acting as the unofficial lord of the Yoons’ mansion.

As a conclusion, in season 4, expect a battle between an “imoogi” and dragons. In addition, it becomes obvious that the winners will be our beloved couple. Since Yoon Seungho was turned into a “dragon”, I am more than ever convinced that he will act like in season 1: confident, perceptive, smart and cheerful! He can not longer be used like a pawn, for the “dragon” can not be tamed! And removing the falling star would signify the dragon’s death!

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

Painter Of The Night: A guided tour of Yoon Seungho‘s domain🏡

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

When I recognized that this room (chapter 1) was not the lord’s bedchamber, because the author had placed it in this building (chapter 1), I realized that we should pay more attention to the location of the rooms. From that moment on, I tried to make a map of Yoon Seungho’s propriety. With this new insight, I made many new discoveries. Thus in this essay, I will guide you through the lord’s domain, although we will have to make a short trip to town as well. 😉In addition, I would like to point out that I am still missing some elements, like for example the exact location of the library. I have some suspicions, but I can not guarantee it for 100%. Before starting the guided tour, I would like to list the different buildings: the lord’s bedchamber, the stable, the shed, the servants’ bathroom, the shrine, the painter’s study, the kitchen, the scholar’s room, the pavilion and finally the library. The starting point for the orientation is the main gate. (chapter 68)

1. Yoon Seungho’s bedchamber

It is facing the main gate and it is situated on the other side of the courtyard. (chapter 25) As you can see, on the side we have a tree which is visible from the patio. The foundations for the patio are in water. (chapter 83) If you combine both images, you will realize that this basin has nothing to do with the pond where the pavilion is. In addition, the terrace attached to lord’s bedchamber has a view on the building where the lord and the painter were held captive in the shed. (chapter 74) Another important aspect is that there’s a yard behind the bedchamber and the patio. (chapter 12) This explicates why Lee Jihwa could drag the spy amateur and interrogate him. (chapter 13)

2. The shed

It’s situated on the right of the main gate and stands perpendicular to the lord’s bedroom. (chapter 77) This signifies that the building is facing the servants’ bathroom which stands on the other side of the courtyard. This explicates why you see the washroom in the background (chapter 64), when the protagonists caught Kim spying on them in the courtyard. As the manhwaworms can view, the lord’s bedchamber and patio stand behind Kim’s left shoulder.

3. The stable

Yes, I could get a clue about its whereabouts. (chapter 25) It is placed outside the mansion, for the lord entered through the main gate. This explicates why you view the patio juxtaposed to the painter’s study in the background. The building has no foundations in water. (chapter 25) Besides, you can see the tree in the background (chapter 25) which is situated next to the well and the servants’ washroom. Since the lord brought the hose in the courtyard, this means that the pavilion is located in the opposite direction. This observation is important, for the lord is standing at the entrance of the mansion: (chapter 98) So he is not far from the stable.

4. The servant and the lord’s bathroom

From the gate, you have to turn to the right and walk by passing the well and the tree. The servants’ bathroom is the background. It is situated on the left of the propriety, behind the patio located next to the painter’s study. (chapter 51) This information is important for two reasons. First, the bathroom is not far away from the well and secondly, there is no other room or building next to the washroom. However, right behind the building, there exist some stairs. (chapter 19) And now it is necessary to outline why the location is really relevant. It is related to the incident with the sword. Observe that when Kim left the restroom, he encountered the lord outside in the courtyard. That’s the reason why you see the tree and the wall in the back. (chapter 26) This detail made me question this: How could Yoon Seungho fetch the sword within a few minutes, though the bathroom is far away from the bedchamber or any other building? (chapter 26) That question confirmed my previous theory: the butler was listening to their conversation. Thus Byeonduck created such a panel. (chapter 26) Since the lord had brought some clothes for the painter, this signifies that Kim had returned with the sword, but he hid in the shadow. Observe that the lord is going to the right, though on this side we have the stairs. On the other hand, this is where the butler was standing. So on his way out, the noble met Kim and the latter handed him over the weapon expecting the noble to kill the artist. Kim couldn’t imagine that Yoon Seungho’s jealousy would make him target the learned sir, especially because the other was in his bedroom, far away from the bathroom. And that’s how I recognized a new pattern. Remember my previous interpretation: the painter is the lord’s reflection. However, in the first season, it was not entirely correct. Why? Because Yoon Seungho was mostly the valet’s reflection. But as time passed on, the artist’s personality affected the aristocrat’s. That’s the reason why the butler started making false predictions. And the manhwaphiles need to question themselves where the learned sir was staying and how Yoon Seungho could walk through the courtyard without any interruption. (chapter 27) However, to answer this, this signifies that I have to leave the servants’ bathroom.

On the other hand, the location of the servants’ bathroom plays an important role in another aspect. Look at this scene. (Chapter 25) The lord was taking a bath after the forced sex. Observe the quality of the wall and now compare it to the bathroom in the second season: (chapter 70) There was wood and windows, but no wall. (chapter 26) This means that the butler prepared the bath for his lord in the servants’ bathroom!! Thus I conclude that only after the abduction, the lord could wash himself in the master’s bathroom which is located elsewhere. I assume that it is situated not far away from the bedchamber, which is on the other side of the courtyard. (chapter 70) (chapter 70) The readers can detect trees in the background and on the left side a multi-level terrace. (chapter 12) This means that the lord’s bathroom is situated on the left of this picture, but it is not visible. However, in the last panel, you can see a well indicating that the domain has two wells. This confirms that the owner’s bathroom must be on the other side of the bedchamber, closer to the wall and the terrace with grass. They usually built bathrooms close to a well in order to lessen the burden of carrying water. This is not anodyne at all. Why? Through this incident, Baek Na-Kyum discovered the lord’s real bathroom. My readers will certainly recall my theory about the incident with the “pervert”. After Yoon Seungho’s return from the hunt, Baek Na-Kyum was sent to the bathroom in order to assist his lover. So where did he go? Naturally to the noble’s bathroom, where he caught the maid having sex with the butler. In other words, Kim was bathing in the lord’s bathroom!! A new version of this scene: (chapter 71) A huge violation of laws!! The servant manipulating the painter hoped that Kim would be punished, for he had heard that the painter was a traitor. He expected that the low-born would tattle on Kim to his husband, but unfortunately for him, nothing happened. I hope, you can now situate the two bathrooms in the mansion.

Before leaving the lord’s bathroom, I would like to explain why Byeonduck drew such images in episode 70 which were quite confusing! (chapter 70) Observe that the houses have thatched roofs. This means that the painter and the domestic are walking through the streets of the city. But why? It is because the butler had given the instruction to let the artist leave the mansion. Kim imagined that once outside the propriety, the painter would run to his sister. In his eyes, he had faked obedience and respect in front of Yoon Seungho. (chapter 69) The valet had been projecting his own thoughts onto Baek Na-Kyum’s: (chapter 87) This means that the servant had indeed disobeyed the lord’s instructions. That’s the reason why the domestic asked Baek Na-Kyum to follow him in a different direction. (chapter 69) And now, you comprehend why the servant was mad and frustrated. During their stroll through town, the painter followed him blindly and absent-minded. Thus he never ran away. I couldn’t help myself laughing after this revelation. The painter was so lost in his memories that he never paid attention to his surroundings. (chapter 70) And if you reread episode 70, you will detect a time jump. It is because the domestic had realized that this walk was totally pointless. The artist had not left his side. They returned to the mansion, and note that in that scene the artist was carrying towels . (chapter 70) contrary to this last panel: (chapter 70) The manhwaphiles can now grasp why the domestic was so angry and slammed the door. (chapter 70) He had the impression, he had lost his precious time because of the artist. However, the man never recognized that the main person responsible for his “hard work” was the butler. Because of this scene in episode 70, people, including myself, were a little confused about the lord’s propriety. Where was the painter exactly? (chapter 70) The manhwalovers can comprehend why the domestic was lying here. He was hoping that the painter would run away. And now, it is time to return to the mansion and to the servants’ bathroom. From that building, I would like to show you the shrine.

5. The shrine ⛩

You are probably surprised that I could also locate the shrine, though it was only mentioned in the third season. (chapter 85) For that you need to take the stairs next to the servants’ washroom and walk through the gate: (chapter 19) That’s the building Jung In-Hun visited in episode 18, thus you had this view. (chapter 18) He was already standing on the stairs. In the background you can see the patio situated next to the artist’s study and on the right of the building the main gate. So the learned sir walked through the gate and reached this building: (chapter 18) The wall is separating the shrine from the servants’ quarters and kitchen. And what did Jung In-Hun find in this building? (chapter 18) The altar had been removed. This signifies that the scholar was the witness of the butler’s sacrilege. The latter showed no respect to the lord’s ancestors. Striking is that the learned sir acted the same way. (chapter 18) He showed no respect, because he was too focused on himself and his envy. (chapter 85) This means that the butler had been expecting Yoon Chang-Hyeon’s arrival, thus he had rearranged the altar so that no one would notice his disrespect. The smaller tables are put on the floor contrary to episode 18. However, if you contrast the two images, you will detect one divergence: the absence of the folding shield. Secondly, observe that the second black name plate has no incense. Therefore the elder master is only bowing in front of one plate name and not the other. (chapter 85) Besides, the second altar is not put in the center of the shrine. A sign that the second altar is neglected. Thus we need to question ourselves where the folding shield was before.

6. The painter’s study

It is situated in the building where the second patio is. (chapter 51) The study is situated, where you can see the two small windows. In the first season, there were two possibilities to access to his room. You could access to it through the door on the side which stands next to the lord’s bedchamber. This means that the lord has a view on the entrance to the smaller courtyard. However, one detail caught my attention. During the first season, the gate to the smaller courtyard was closed. (chapter 10) (chapter 12) (chapter 19) The other access was through this hallway. (chapter 19) This explicates why the lord dragged his friend by the topknot to the courtyard. (chapter 18) But wait…. In the second and third season, this is what you see: (chapter 67) (chapter 78) The gate had been closed, while the main lead asked to always keep the gate next to his bedchamber open. (chapter 68) That way he could keep an eye on the painter, in case he would run away. And now, you comprehend how Lee Jihwa could enter the painter’s room without getting detected. He used the same entrance than the learned sir. (chapter 19) Thanks to this new discovery, I can confirm my previous interpretation. Kim had encouraged the artist to run away in episode 12: (chapter 12) He had made sure to keep the gate closed. He envisioned that the artist would leave through the open door, but no… out of habit, Baek Na-Kyum used the door next to the bedchamber. (chapter 12) But when he faced the master, he got scared, thus he turned around and went back to the study. This explicates why the lord got the impression that Baek Na-Kyum had been caught trying to run away. (chapter 12) Naturally, here the artist wasn’t lying, when he said that he was taking a short walk. He had the intention to do so, but since he was back in the smaller courtyard, his words were not reflecting the truth. However, he had acted like that out of fear, and not because he desired to run away. And observe that the lord made sure that the door remained open! And note that in episode 13, Yoon Seungho didn’t return to Lee Jihwa’s side right away. During his absence the red-haired master had even time to meet the amateur spy. That’s how I realized why the lord vanished. He must have asked the valet to keep the gate between the bigger courtyard and the smaller one opened. It’s even possible that Yoon Seungho requested from the butler to take care of the painter’s wound. Knowing the butler, I am not trusting this statement, for he needed an excuse to approach the artist without getting suspected. However, if my theory about the lord’s order is correct, then this signifies that Kim disregarded his order, since in episode 19, it was closed again. (chapter 19) The painter, heartbroken, was sitting on the threshold of building. (chapter 19) As you can see, on the left there’s the patio juxtaposed to the artist’s study. This means, we have the servants’ bathroom on the left. And now, you comprehend why No-Name refused to kill the painter in the mansion. The only access to the study was through the gate situated next to the bedchamber. In other words, the moment Yoon Seungho closed this door (chapter 19), he protected the painter. Besides, I noticed something else. Yoon Seungho could move walls and create new rooms. (chapter 18) Note that above the characters’ head, there is a wall. This is even more visible in chapter 53: Under this new light, I came to realize the importance of the closed gate. This represented a disgrace, yet the moment the gate to the bigger courtyard was kept opened, this revealed the closeness between Baek Na-Kyum and Yoon Seungho. And since the painter’s fate is the same than the aristocrat’s, this means that the butler must have done the same in the past. The moment he closed the gate, Yoon Seungho was exposed to danger and his father couldn’t even notice it.

But the study is not the only room in the building. (chapter 18) As you can see, on the other side of the hallway, there is another room which has a yellow floor. (chapter 19) In episode 84, the painter was sitting next to this room. (chapter 84) This explicates why Yoon Seungho didn’t find his lover right away. (chapter 84) He was not sitting next to the study, but behind the room facing the study. Imagine that the building has a form of U. The study is located on the top of the U on the left, while he was sitting behind the bedchamber situated on the right of the bottom of the U. I hope, this description is understandable. This is important, because now you can locate the kitchen ( chapter 84). It is visible thanks to the jars. Besides, in the last panel you can detect the presence of a building on the right. It is the shrine.

7. The kitchen

You can see the kitchen in the following picture. (chapter 12) The kitchen is detectable thanks to the big wooden door in the smaller courtyard. However, I am quite certain that there’s a second access to the kitchen. (Chapter 46) They need to have an easy access to the jars situated in the backyard close to the walls. Moreover, observe that the backyard is elevated. (Chapter 46) This corresponds to the terrace covered with grass in the background. (chapter 12) This means that from the kitchen, if you follow the wall, you can pass by the lord’s bedchamber. And if you follow this path, you will discover the pond with the pavilion.

8. The pavilion and the library

As mentioned above, the terrace covered with grass leads to the pavilion. This means that the scholar walked along the wall. (chapter 10) (chapter 10) However, if you pay attention to the last image, you will detect the presence of a building. (chapter 10) Here, it is even more visible. This can not be the lord’s bedchamber, for the foundations are different. They are not in a huge basin. From my point of view, we are seeing here the library. This would explicate why the author created such a panel: (chapter 77) This is a view from the window, as the manhwaworms can see the rain falling. But it is totally dark. Why? It is because the drops are falling in the pond. Besides, let’s not forget that this building was also shown during the night of the forced sex. (chapter 25) This means that the pavilion and the library are located on the north-west side of the propriety behind the shed and not far away from the lord’s washroom. Nevertheless, this localization is not 100% sure. And since in Jihwa’s domain (chapter 3), there was an exit close to the pavilion, I assume that there must be one in the lord’s propriety. This explicates why the valet questioned him about the artist’s whereabouts. (chapter 25) He thought that Baek Na-Kyum must have run away. And now, you are wondering how this is relevant to our story. It is related to Jung In-Hun and his sleeping quarters.

9. Jung In-Hun’s bedroom

We know for sure that his room is close to an exit (chapter 27), for the bearded domestic appeared so suddenly. Another fact is that it is not far from a corner because of this panel: (chapter 50) Furthermore, I would like to point out the presence of the two trees. And now take a closer to this picture: (chapter 12) You can see the two trees. One stands next to the well which corresponds to the tree on the left and another stands behind, which corresponds to the tree on the right. (chapter 50) In other words, the learned sir’s room was placed on the other side of the smaller courtyard. This means that when the butler and the maid brought the lunch to the painter in the study, you could see the learned sir’s room in the background. (chapter 11) This also explicates why Jung In-Hun went through that hallway, when he left the painter behind. (chapter 19) He was returning to his bedchamber.

That’s how I realized two major points. First, the scholar was involved in the incident with the ruined painting. 😨 First, remember what the learned sir told to the painter: (chapter 10) But he was walking in direction to the study, while the pavilion is situated on the other way. He was turning his back on the pond, when he was standing in the courtyard. (chapter 10) Yes, it was similar to the artist’s white lie in episode 12. The latter had hoped to take a stroll, but once facing the lord, he had turned around. Here, we have the exact opposite. The scholar had actually finished his stroll. Besides, don’t forget that in that scene the gate next to the lord’s bedchamber was close. This means that the learned sir dragged the artist far away from the study. Is this a coincidence? I doubt it. Let’s not forget that the scholar was convinced that the lord was admiring him, thus he definitely judged the artist as a rival. Besides, since his bedroom was facing the study, he could have heard the noise from the room. (chapter 11) Besides, the doors were opened. This means that the scholar could have heard the noise. Moreover, the manhwaphiles should remember that he had requested from the artist a promise just before. (chapter 10) Finally, what did the maid state? (chapter 11) She was not lying, for he needed to cross the courtyard to go to the pavilion. However, her words implied something else. From my point of view, the scholar had been informed about the wrongdoing. Another possibility is that he had seen something. Anyway, he knew something was about to happen. Consequently he dragged the painter away and later he just needed to feign ignorance. He acted, as if he heard and saw nothing. In his mind, he would get rid of a rival. He counted on the painter’s selflessness and huge sense of loyalty. So the butler ordered the straw mat beating, but he never expected that the servants would perform it in front of the bedchamber. (chapter 13) He had overlooked one small detail: Yoon Seungho was no longer the young master, but lord Yoon. So the moment the lord was confronted with the sentence, he stopped the punishment right away. This means that Jung In-Hun heard definitely about the incident and did nothing afterwards. At the same time, thanks to this new insight, I could find the explanation for the butler’s late arrival in the learned sir’s bedchamber. (chapter 50) This time, Kim knew how the master would react, once he disclosed Deok-Jae’s insult and the conversation between Jung In-Hun and the painter. He expected him to rush to the learned sir’s room. During that time, he sentenced Deok-Jae to the straw mat beating. Since the lord was away from the bedchamber, the latter wouldn’t see the punishment. He arrived on delay on purpose to keep him there for a while. Yes, this was the negative reflection from episode 11/13.

To sum up, the new real discovery is that the scholar played a role in the incident with the ruined painting. But karma retaliated immediately. (chapter 18) He was confronted with the fact that Yoon Seungho treasured Baek Na-Kyum so much that he would humiliate a noble who would hurt his beloved artist. (chapter 18) He would even caress his cheek. (chapter 18) which could only fuel the scholar’s jealousy and envy. (chapter 19) He was forced to face reality: the lord had tricked and even used him. Finally, the readers should question this scene. Why was the scholar standing in the courtyard? (chapter 35) His room is situated on the opposite site of the courtyard. Moreover, it was the morning, so I doubt that he had gone to the library. From my point of view, the teacher had been manipulated by the butler whom he definitely trusted!! He had been encouraged to show to Yoon Seungho that the painter was only obeying him. In my eyes, the teacher wanted to remind the lord this: (chapter 30) If he desired to have the painter, he needed to treat Jung In-Hun better. Therefore you can grasp the noble’s comment: (chapter 35) He never realized that the painter and himself had been played. The main leads were treated both like puppets, but the scheme failed, for the artist was slowly realizing that the teacher’s concerns were quite superficial. He would no longer follow him blindly. Therefore he stayed in front of the gate. On the other hand, the scholar was unaware that Yoon Seungho could become violent, for the former had never seen the lord with his sword. (chapter 27)

And this leads me to the incident with the sword. Yoon Seungho didn’t know exactly where the learned sir was resting, thus he walked through the hallway and once in the smaller courtyard, he entered the building (chapter 11) from the side. That’s the reason why the learned sir heard these noises. Steps on the parquet and the closing of a door. (chapter 27) The jealous and angry noble was searching for the schlar. And now, you comprehend why Baek Na-Kyum got sick. He had to run almost naked through the courtyard (from the servants’ bathroom) and he had not even the time to dry his body. (chapter 27) With the localization, we can explain why the couple was standing at a corner, for the house is built like a square. But the domestic dragged the scholar away and brought him to the backyard. (chapter 27) This truly exposes Jung In-Hun’s naivety. He believed that he was cunning, but in truth he was not. He always put his life at risk, though he imagined that only the artist would suffer. Yet, he never recognized it. And because of these new discoveries, my theory that the learned sir is indeed dead got reinforced. Moreover, he showed no respect to the ancestors.

10. Conclusions

Why did I give myself so much trouble for this? It is because through this examination, we can more insight concerning the lord’s suffering. First, the closed gate between the study and the bigger courtyard indicates that the butler played a bigger role in the lord’s downfall. Since the young master Seungho lived in the study (chapter 77), I deduce that Yoon Seung-Won must have lived in the scholar’s bedroom. Therefore he could see and hear things. Moreover, if the door was closed, Yoon Chang-Hyeon had no view on the movements in the smaller courtyard. I am already imagining the worst. The butler could drag away the young master unnoticed. Or he could even put the wall on the one side (chapter 53), and close the door on the other side, and no one would detect the presence of an intruder, while saying that he had received orders from Yoon Chang-Hyeon. When the messenger was present, he had put down this wall, and opened the door on the other side, so that Yoon Seungho couldn‘t see the man‘s departure from the bedchamber. (Chapter 82) This explicates why the background is different from this one. (Chapter 78) The lord was standing on the other side of the building.

Note that Jihwa could enter the propriety without the owner’s knowledge in episode 10, but people in the courtyard could see it. When Byeonduck drew such a picture, (chapter 10) she revealed how the antagonist entered the study. He had used the other entrance (chapter 19) and avoided to walk in the big courtyard.

Striking is that when the childhood visited the mansion without the lord’s authorization a second time, the door was open. In addition, the head-maid and the butler were standing at the gate leading to the bigger courtyard. Why? (chapter 17) The answer is simple. The head-maid had chosen to inform her master. But Kim was standing in the way of the maid. He had stopped her from going to the main lead. And now, you comprehend why the valet chose to close the door later again. (chapter 19) (chapter 19) The valet expected that as a good host, Yoon Seungho would investigate the matter, and as a good “butler”, he would lead his master to the kitchen by using the other entrance. Thus the lord would see with his own eyes the painter sitting with the bottle. (chapter 19) He would catch him red-handed. But the lord believed to know already the truth, and showed understanding. (chapter 19) Therefore he protected the artist. As a conclusion, the readers need to pay attention not only to the location of the rooms, but also to the walls and the doors. The walls can be removed, as for the doors they can be closed or opened.

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