This is where you can read the manhwa. https://www.lezhin.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.
In my first part, I had briefly described, how the manhwa Painter Of The Night has similarities with the Russian novel “Crime and punishment”. The anti-hero Dorion Raskolnikov, a poor student, is plagued with a guilty conscience after committing two murders. One might think that the student killed the pawnbroker due to his terrible financial situation, yet in reality it is different. Since the protagonist considered himself superior to others, developed the idea of superior humans, who were not bound to society norms and rules. Consequently, he justified his crime as an utilitarian act. However, during the assassination, he was forced to kill the pawnbroker’s sister, as she witnessed his misdeed, already revealing that he was no god. Moreover, after committing the crime with a certain brutality, he started feeling guilty, reminding him more and more of his true condition. He was just a human after all, like all the others. The burden of remorse became so heavy that he felt the need to confess. First, he admitted his crime to Sonya, a prostitute, and finally to the authorities.
Like I mentioned in the first part, Jihwa reminds me a little of Dorion Raskolnikov because of his terrible guilty conscience.
Yet, there is a huge difference between them. Dorion Raskolnikov is a nihilist and he is totally alienated from society, which is not the case for Jihwa. The latter trusts people, especially his fellows from nobility. That’s why he talks to his friend and Min about his special relationship with his childhood friend. 
His immense trust is palpable, when he takes their words as face-value (chapter 37). That’s why despite their similar situation, the burden of a crime, Jihwa’s torment is different in reality. He is not planning a murder because he considers himself superior to others or due to his philosophy. In fact, he feels remorse and suffers anxieties, even before the murder has taken place. And this reveals his purity in a certain sense. His conscious knew very well the gravity of the crime but his heart, blinded by his selfish desires and his trauma, chose to ignore it. Therefore Rodion’s course diverges so much from Jihwa’s path. While the former discovers his true condition and reconnects with his humanity, the red-haired noble will lose his innocence, chased away from Garden of Eden, and the readers will witness his transformation into an adult, into a real man.
It all started with a simple sentence. 
Although Jihwa had the impression, it was just a suggestion, in fact it was an order, as lord Min was using the imperative tense. And this is no coincidence. The snake had to deceive the naive noble by letting him think that he was making a choice. In order to seduce to commit a sin, Black Heart tried to diminish the gravity of the wrongdoing with the idiom “Just”. First, it creates the illusion that this is an easy solution to his difficult situation. Secondly “Just” is so short and yet so deceptive, because it hides the horror of reality. The most interesting part is that during that meeting, the second lead acts like a child. 
He doesn’t speak with the personal pronoun “I” but “we” showing that he is not differentiating himself from the others. It was, as if he considered Min and the others as his parents and had not his own identity. He is not able to make the decision on his own. This scene shows his lack of maturity. Sure, he questions Min’s words with this interrogation. Realizing that his first attempt was not successful
, Black Heart knows how to trigger the naive man by turning Yoon Seungho into a victim of a low-born, a seducer bewitching his friend.
That way, Min gives the lord a justification, he will do it as an utilitarian act and save his friend from the greedy commoner, while in reality Black Heart is well aware that jealousy is actually the real reason for the assassination. And here, I see another similarity with Dorion’s justification. The latter used his nihilistic philosophy for the murder, while in truth, it was a gesture of selfishness and arrogance, since he believed he was above law and faith.
However, since the murder didn’t take place, then it means there’s no crime and as such no punishment. It looks like Jihwa was able to maintain his innocence and purity. And that’s exactly how Nameless is thinking. 
The criminal’s words have an impact on the aristocrat, leading him to think that nothing happened. 
However, both are totally wrong. The abduction was a crime and the horror the painter was exposed to and what he had to hear and fear
, will leave terrible marks in the painter’s mind. Let’s not forget, how he was suffocated till he fainted and Byeonduck truly outlined the gravity of the misdeed.
sure, this image comes from a nightmare but it is influenced by his traumatizing experience. This will definitely leave a huge trauma on Baek Na-Kyum, which will be followed by nightmares. 
And Seungho will realize, how his loved one was hurt and since he was exposed to a similar situation, his thirst for revenge and punishment will be definitely huge. Besides, he will blame himself again. First, he was unable to protect the painter from the nobles, and secondly he punished him himself, though he was truly innocent. That’s why I am expecting a purge, organized by the protagonist. However, don’t get me wrong, I am not saying, he will act like with his staff. He will use his power and connections.
Since there’s a crime, there’ll be a punishment. And in this chapter, the manhwalovers can observe Jihwa’s “immaturity” once again. 
“It [the murder] is of no consequence”. Observe that Jihwa didn’t renounce on the assassination, because he realized the real gravity of the crime. Nameless described the killing as horrible as possible so that he would get a shock, unable to face the brutality of reality, and it worked. However, Jihwa decides to give up, as he recognizes the futility of the action. He will never obtain, what he really wanted. And for me, the expression “it is of no consequence” shows Jihwa’s lack of maturity. The abduction and the horror he was exposed to made him run away
, while the painter couldn’t. While Jihwa was able to escape and to vomit to overcome the shock
, Baek Na-Kyum never had the chance to do so. So there will be consequences, which neither Jihwa nor Nameless are expecting. Why? First, Nameless has the impression, Jihwa acted as a jilted lover and imagined, he had acted on an impulse. That’s why he feels sorry for him. He looks like he was a passionate and genuine lover. Nonetheless, he has no idea what the red-haired noble did to his childhood friend and why Yoon Seungho rejected him. But more importantly, he is not aware of Min’s participation and manipulation. He has no idea that Jihwa was the puppet used to hurt Yoon Seungho, so that the latter would be humiliated and lose his place as alpha among the nobles. Remember what I wrote before, Min gave Jihwa an order and nothing else. So when he visited the noble in chapter 56, he actually reminded him to give the order for the murder.
At the same time, Min knew that there would be an abduction, as Min had recommended to make it look like an accident. 
Notice that when he asks to be part of the plan, he is acting, as if he was only a participant and Jihwa was the mastermind. He wants Jihwa to take the blame, in case something goes wrong. However, since he is using the imperative tense, this signifies that Min is giving an order and this is really important in my opinion. He is truly a puppet master, letting people think that they make their own decision, while in reality he corners them and forces them to decide what he really wants. Even Seungho fell into his trap in chapters 52-54.
While Nameless doesn’t know about Min’s involvement and request, the red-haired noble is unaware that his hands are already tainted by blood. Yes, he is responsible for Deok-Jae’s death. And in my opinion, the servant’s death will become a tool for Yoon Seungho’s vengeance and justification for punishment. Let’s not forget the friend’s words during that dinner: 
Even Min could face punishment, if they are caught which reveals Yoon Seungho’s true power. However, Black Heart dismisses the point by saying that they just need to make it look like an accident. However, the way Deok-Jae was killed doesn’t look like an accident.
Since the condition is not met, this means, Yoon Seungho has a justification to go after them. And now, here is the question: who will be framed for the crime? Jihwa could definitely been betrayed by Min, which will symbolize Jihwa’s Fall of Eden. However, there is another possibility that Jihwa doesn’t face any punishment immediately and someone else becomes the target. Let’s not forget that in “Crime and punishment”, a painter is framed and we have a false confession too.
I have the impression that the noble with the mole could become Yoon Seungho’s target. Why do I come up with this idea? First, Jihwa seems to admire the relationship he has with Min. Besides, the red-haired aristocrat seems very close to the man dressed in purple. The latter visited him after the humiliation suffered in chapter 8, so did the second lead after discovering Yoon Seungho sleeping with the painter in chapter 43. So they both confide to each other. Secondly, let’s not forget that Byeonduck’s work contains a certain pattern. Min challenged the main lead twice during the first season (33-41) and the second season (52-54). Then Jihwa was humiliated once in season 1 (chapter 17-18) and it occurred in chapters 56-57 in season 2. Yet, the man with the purple role was dragged away in chapter 8 but nothing has happened to him yet. Imagine Jihwa’s reaction, if something like that happens to his friend. He will definitely agonize, because he will feel responsible for his friend’s misery and will blame Min for abandoning him. The admiration expressed above outlines his innocence one more time. Finally, Crime and punishment is also my source of inspiration. Due to a false confession and accusation, Dorion decides at the end to confess his involvement. And this could definitely happen in Painter Of The Night. Jihwa takes his responsibility and decides to confess the crime. This would turn him truly into a man. But okay, this last part is just a speculation.
Nevertheless, right now, Jihwa has no idea that his decision to abduct the painter has consequences, just like Nameless is not considering an abduction a crime. Both are living in an illusion, though Nameless believes, he knows the world so well. Their short-lived peace will end soon and the comfort experienced with Nameless will leave a bitter taste first, the moment Jihwa hears about Deok-Jae’s death and its consequences. There’s no doubt that Jihwa will resent Nameless for the murder. He already criticized him for involving the vicious domestic in their plan. I believe, Jihwa will blame him for this and Nameless will confront him with his initial decision. He was hired to kill someone. Even if the money was returned, it doesn’t mean that everything is erased. Jihwa made the decision to hire Nameless and as such, he needs to take his responsibility.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.
The noble says the exact same words than the artist, like my follower @Denize59542085 truly noticed.
One might say that the repetition of the same expression is just random. However, if the manhwalovers contextualize the situation where these words are spoken, they will realize that both are facing the same situation. They are trying to deny the truth as their mind and heart can not accept the reality: Yoon Seungho is in love with a commoner, the painter Baek Na-Kyum. But one might appeal that this is nothing new as I had explained it before. However, if my readers recall the picture I chose to validate Jihwa’s similar attitude in the past, they will note that back then he expressed it differently.
He was utilizing the imperfect due to the conditional sentence, a mixture of past and future linked to hope and dream. As you can observe, the use of tense has now switched. 
Like I had explained before, the artist is a person living in the present hence he embodies this time. On the other hand it is not the same with the noble. So the reason behind the artist’s doubts are different. It’s like a dream has come true, while for the red-haired aristocrat, it was, as if his dream and hope had been destroyed. And notice that right after seeing the hickey, he gets so shocked that he falls back on his butt and even moves away from the low-born.
The shock was so huge that he has no energy left in his legs. Moreover, it was, as if the second character was trying to run away from reality, his eyes couldn’t take the blow. But his nightmare doesn’t stop here, he has to hear the painter’ scream for his lover.
As you can sense, Jihwa’s senses are all confronted with reality. His own eyes saw the hickey, his own ears detected the intimacy between his ex-lover and the low-born. He can’t escape from the truth which he has been attempting so hard to avoid all this time. Now, his eyes and his ears are hurting him as they are revealing him the reality. 
(10), visiting Seungho’s mansion without an invitation 
as he wanted to investigate the painter (17), hiring an assassin
(43), showing the killer the target (50)
and visiting the criminal in order to remind him of his task. 
(51). The rational answer would be to say that he was wearing it in order to hide his identity. But in reality, there is a diverse motivation. The hat with the veil is used in order to cover his eyes and ears. While wearing such an item, he can avoid to be confronted with his crimes. His eyes can’t really see, just like his ears can’t really hear. This explains why he never questioned himself and his actions which I always criticized. Since he was veiling his eyes and ears, he was not facing the present and could escape from any responsibility. I would even add that this item reinforced his negative disposition. He would justify his actions with the past (f. ex. taking revenge on the behalf of the noble with the mole and accusing Seungho to be the cause for his evil actions
) and would rejoice if they worked out.
Observe that he only hears about the straw mat beating through his spy but he never witnesses the actual event. Hence he never sees the outcome of his decisions and actions. It would have been the same in chapter 17, if Seungho hadn’t intervened. 
, the spy he hired
, Min
and rumors 
. Concerning the second panel, it indicates that Jihwa has truly no idea about Seungho’s real power and wealth and is more relying on hearsay. Here, Jihwa is confusing the elder master’s situation with Seungho’s. The latter might have a bad reputation but his power is far from declining. This explicates why his brother contacted the protagonist in the end, he desired to get his support. The last picture is relevant as it outlines why Jihwa would always perceive Seungho as a man consumed by lust. He never witnessed how the lord would sleep with other men as he was never present. He could never judge with his own eyes that Seungho was actually fighting with other nobles rather than enjoying having sex with them. Fooling around implies pleasure which was never the case. In fact, with this statement it becomes clear why Seungho always had sex with Jihwa separately. Jihwa made sure to never be confronted with other aristocrats, preferring avoiding reality. It didn’t help him in the long term because he always heard Seungho’s conquests through others and this could only reinforce his prejudice. In other words, these private sessions could only increase the gap between them. Jihwa could never understand his childhood friend as he was influenced what people were saying because he never saw it himself. That’s why he got hurt in the end, he only got his knowledge by hearsay.
This idiom underlines that Jihwa is just using knowledge but neither his heart nor his eyes nor ears to understand him. He might know things but he can’t feel as he is himself deprived of his own senses. He’s deaf and blind in reality, very similar to the artist’s attitude in season 2 from chapter 45 to 49. In my opinion, Jihwa’s behavior reminds me of this picture with Baek Na-Kyum: 
A man without his head as his mind is full of prejudices and he is not even using his own eyes and ears. That’s why his so-called love for Seungho is shallow as he shows no true compassion. One might refute this argument by saying that the noble saw the lord’s nightmares. However, if you pay attention to this scene, 
you’ll notice that they are related to the past and not to the present. Jihwa was never a witness, when Seungho was directly wounded emotionally and physically. He could only observe the consequences of his suffering (the trauma), yet he knew nothing about their origins, only a name: lord Song. His knowledge is very limited, yet it gave him a certain feeling of superiority, explaining why Jihwa always considered himself as special. First, he knew certain things about his past as they were childhood friends. Secondly they had sex alone and finally Seungho always forgave Jihwa’s wrongdoings.
The reason for this is quite simple: both were living in the past, yet it changed the moment Baek Na-Kyum entered the two figures’ life, the person symbolizing the present. Let’s not forget that the protagonist’s tumultuous relationship with his friend got affected the moment the low-born created his first work. The sex at the pavilion affected not only Seungho but also Jihwa. While the former had come back to life without noticing it and saw a different image about himself, the other had the impression that he had been able to stimulate his friend for the first time and this gave him hope that he was closer to his dream. 
Only now I comprehend why the lord could see the painter’s virginity. Let’s not forget that in this scene, Jihwa touches Baek Na-Kyum’s body. So he is not relying entirely on his gaze. Like I mentioned above, the noble lived more through his body and his hand helps him to sense the painter’s virginity. Let’s not forget that the character has learnt himself through his own body to detect sexual experiences. From my perspective, he sensed through his hand the painter’s shyness, that’s how he discovered his secret. He acted as if he was a man with a bad sight. But he was not only blind before, he was also deaf therefore in the same chapter, he doesn’t hear Seungho’s annoyance about his bad reflection, he is a man consumed by lust.
In my opinion, Jihwa lived through his other senses (taste and touch) to feel alive. And that’s one of the reasons why he drinks so much in the end.
Happy or not, he drinks. Strangely is that in chapter 8, Jihwa has just bought an erotic picture but he looks at it without taking any pleasure. And this is important as it shows that his eyes are not sensitive, they are starting to come back to life. That’s why he can not be deeply moved by Baek Na-Kyum’s paintings in reality. For me, it becomes clear that due to the appearance of Baek Na-Kyum in Jihwa’s life, the noble is forced more and more to use his own eyes and ears, especially after hearing from his friend about the locked gaze between Yoon Seungho and the low-born. Hence we see many zooms on his gaze in chapter 13, 14 and 15 underlining that he is forced to use them. He has to witness with his own eyes the attraction between the two main leads and attempts to change it.
His eyes are absent and observe, he is touching his body in order to detect the marks left by the main lead. And the manhwaphiles should remember that one of the mirror’s purpose is to help the beholder to perceive his identity. Unlike his friend, he is not avoiding the mirror but since he is blind, he can’t perceive himself and needs his hands to see. And it is quite similar in chapter 41: 
here he’s holding himself the big spoon that’s how he can see his own reflection the water. I hope, you can understand why I can not examine each scene where Jihwa’s eyes play a huge role. However, with this new discovery, I would like to incite the manhwalovers to read the manhwa from the start and pay attention to Jihwa’s eyes and ears. But because he has been deaf and blind for so long figuratively speaking, it is not surprising that Jihwa is a selfish person. He is trapped in his own world where his interactions with others are restricted and his world is linked to the past. That’s why he can’t live in the present. Who would like to be reminded of his disabilities? 
Yet, the beholder will recognize that the noble’s tears are barely visible. The tears don’t flow down the cheeks like in the latest chapter. From my point of view, this scene is very important as it explains Jihwa’s obsession with his friend in the end. In his presence, he was able to feel something, it moved his heart to the point to have some tears in his eyes. But he didn’t see with his own eyes, Jihwa detected it through his body and especially his hands. Note how Seungho is holding his hand on his friend’s shoulder and he is looking down. Both have no eye contact. 
or uses his hand to cover his tears 
(observe the position of his hands here) or hide his tears with the veil of the hat
or bury his head so that the tears are not visible
These gestures represent his resistance to accept reality. He is not able to face reality and the present hence he urges Nameless to kill the painter very soon. It was as if he tried to hurry the time so that the murder would happen very quickly. 
How is it possible for a blind person to see a line? 
He couldn’t believe his own ears that the main lead would never be together with him. That’s why in the cabin, he is still in denial, until the criminal confronts him with the reality. Striking is that once the noble complains about his incompetence,
he shows him the kidnapped painter.
which leaves him speechless. Striking is that right after, the noble hides away from the commoner. First, he turns his back to Nameless and even hides his eyes behind his hands. Another sign that he is still avoiding the present and the terrible situation.
and observe that he is talking about the past again, using it as an argument. He criticizes Nameless for not doing his job illustrating that he is not taking any responsibility. But what the aristocrat fails to recognize is that Nameless is acting as the mirror, the mirror of fact, reality and truth!! His good heart made him detect the aristocrat’s guilty conscience hence he first postponed the murder hoping that Jihwa would change his mind. However, it didn’t work hence he reminded him of the severity of the crime
but the latter didn’t really budge, despite a certain hesitation. Each time, he urged the commoner to hurry up and finish it. I believe that’s how Nameless recognized that Jihwa would never see any responsibility after the crime despite a certain guilt. He sensed that Jihwa would become just like all the nobles who order a murder and then frame and blame low-borns for their wrongdoings. And this escapist attitude concerning the hit was present right from the start. What caught my attention is that in chapter 43, when Min incites Jihwa to kill the low-born, the upset noble is not using the personal pronoun “I” but “we”.
and his misdeeds by Nameless.
But just like the mirror in Snow White, the mirror is also speaking and even letting him hear that he is no longer innocent as he played a key role in the target’s capture. He is no longer innocent, even if he had no idea about it.
The irony here is that Nameless is using the same strategy than Jihwa but in the opposite sense. Ignorance is no blessing in the end. Even if he was unaware, he has become part of the plan, a sort of accomplice. Therefore he is already accountable for the future event. As you can see, the commoner uses the exact two senses which Jihwa refused to use in the end: sight and hearing. But he even provoked the aristocrat by describing what his friend had been doing after he left him
leading him to verify his saying. As you can observe, Nameless is manipulating him for his own good. We all know that he wasn’t truly blind and deaf but since he was hurt, he chose to act as if he was blind and deaf, turning him into a selfish and lonely person. But Nameless doesn’t stop here with the confrontation. 
His descriptions are so vivid that Jihwa can vizualize the consequences of his decision. He can no longer escape from this. That’s why the door in his back is so small.
He has already committed so many wrongdoings but he still has an option to escape. He can drop the project. Let’s not forget that he would have killed the painter in affect if Nameless hadn’t stopped him. The criminal wants him to make a decision with a clear mind, similar to the painter who stepped out to clear his mind and face the reality. He is not allowing his client to act on his emotions. He recognized that Jihwa was again using the future, attempting to escape from the present and reality again. 
That’s why Jihwa’s eyes and ears play a huge part in chapter 60. Only here, I was able to recognize Jihwa’s real blindness and deafness, both related to his past and explaining why he was so obsessed with his friend. As a conclusion, the lord Lee Jihwa was not really living. Yet this was not so perceptible like with the main protagonist for his smiles and clothes gave a different impression. In other words, he is a mixture of the two protagonists: the painter due to his tears and his naivety and the powerful master Yoon Seungho due to his attitude towards life, his refusal to live in the present, escaping from reality. 
where the moon shone brightly next to the stars and the sky was filled with beautiful snow flakes mixed with stars, while the lord was making love to Baek Na-Kyum. This picture exuded magic and peace of mind. Yet in chapter 59, the readers are viewing a different night sky 
although it is happening during the same night. The moon is closer, nonetheless covered by clouds. Moreover, the stars are not visible and the snow flakes are less recognizable. We have the impression that there’s some wind due to the multitude of points and the clouds around the moon. It was as if the wind would push the clouds away from the moon and the snow from the roof was blown away by the wind. It was as if the clouds were trying to hide the moon. Since not all the snow flakes are coming from the sky, the few visible are the ones falling from the sky. From my perspective, there is a mixture of snow fall and wind-swept snow indicating that there’s a certain restlessness. As you can sense, we have a panel oozing calmness and clarity first and the other image emanating confusion and restlessness. Why is it so different, although it is the same night? As you can imagine, there is a reason for that and you might have already found the answer. 
Besides, if you compare it to the first image (chapter 4), you’ll notice that the tree is facing the roof. I interpret the position like this. Back then, the artist had to choose between his conscious (social norms), embodied by the roof where he denied his homosexuality, and his unconscious (his true desires), symbolized by the tree. The moon, a representation of Yoon Seungho, stood in the middle creating this inner conflict in the painter. And even so, the presence of civilization was more dominant than anything else. In the second picture, nature is barely visible (only water with some lotus), while we have two pavilions. However, in the drawing from the chapter 58, the readers can detect the switch. Nature is getting more importance as it occupies more place in the drawing. The number of trees has significantly increased. Furthermore, the roofs are covered with wood/ hay hence we don’t sense the presence of culture in this picture. We even have the impression that the trees are coming from the roof.
and the painter is thinking very carefully and calmly. The presence of the trees, connected to the roof and representing Baek Na-Kyum’s emotions and sexual orientation, are now a real part of his identity. 
It was, as if he wanted to clear his mind and think calmly, proving to me that the peace of mind is not just associated to Yoon Seungho but also to the artist. He is recalling all the good deeds the lord did to him. Therefore you can now understand why the first picture radiates peace of mind and beauty. Furthermore remember, in chapter 44 we had snow fall too and back then, I had pointed out that in Korea watching the first snow fall with the loved one has a huge signification. It means your wish will come true and it will be a real and deep love. Hence we could say that the snow fall during that magical night announces that Seungho’s dream will come true. Or the snow flakes could also symbolize the painter’s affection for the noble because snow flakes are similar to water drops and remind us of Baek Na-Kyum’s tears. Due to his tears, we know that the character’s personality is a water element. Yet, since he is denial, his love for the master has not become fertile (hence snow), while during their first night in chapter 21, it rained as his dream had come true. 
Let’s not forget that water is connected to fertility and life. But in chapter 21 this rain had a negative connotation, since it was linked to storm (the sound of a thunder). So it was pouring down, illustrating that this rain was not fecund and didn’t emanate tranquility. All these observations lead me to the following conclusion: the Wedding night had created a turmoil of emotions in both people. Yoon Seungho got swayed away by his feelings, when he was showered with love by the artist, while the latter was swayed away by the sensuality discovered through his first sexual experience. However, since both were not honest to each other and themselves, this night was an illusion causing chaos in the end. This is not surprising that at some point, this night led to a catastrophe, the rape at the pavilion. 
Surprising is the way Baek Na-Kyum calls the main lead, it’s Lord Seungho!! This is no longer “master Yoon” or “my lord” but he is utilizing his first name!! And this detail didn’t escape Jihwa’s notice. He knows, this unveils a certain intimacy between his ex-lover and the low-born. Imagine, so far, Jihwa only called his friend Seungho, when he was upset: chapter 15 and 17!! He was forced to address him as lord/master Yoon all the time.
then the moon would remain by his side and their closeness would return. That’s how the second character views this night, especially after being humiliated and rejected. But the reality is that the clouds are actually a representation of Jihwa. Therefore, the clouds represent a boundary. It was as if the clouds would circulate around the moon, trapping it. Why do I interpret it like that? It is because of two elements: the composition of clouds which are made of water and air and expressions concerning clouds. 
and 30 minutes, he was enraged
I could include the new episode here. During the same night, he is devastated and lifeless 
then once he sees the captured painter, he is full of rage and yelling, although he was complaining before that the criminal hadn’t done his work.
That’s why we see the constant mood swings in the noble, however they have a different origin than Seungho’s. Nevertheless since both have fire elements in their personality, this is not surprising if they often clashed in the past. 
And because the cloud embodies the aristocrat, it is important to know its signification. The cloud is the symbol of the ephemeral and impermanence which can not help the main lead to get grounded. Just like the rain and the snow, the cloud is also linked to fertility as it brings water but it can also bring destruction (typhon) or hope (“silver lining”). Now, you understand why Jihwa and the painter are so different, although they both have water in their personality. 
The way he was dressed exposed his joy and anticipation to be reunited with Seungho. He was already imagining himself being embraced by him, when he saw the lord having sex with the painter. Then he got so upset, jealous and enraged that he would yell and burst into tears at his friend’s pavilion.
Then a cloud on the horizon refers to a bad omen, something bad is about to occur and we know that each time, Jihwa approached his childhood friend, something bad happened to the painter later because his feelings had been wounded by his childhood friend before (chapter 5 -> 11; chapter 15-> 17; chapter 57->60). And now it becomes more understandable why Jihwa appears so emotionally unstable, a characteristic of people with a combination of water and fire. Since I have determined that the cloud is a visualization of Jihwa in Seungho’s life, it becomes clear that the following panel 
, 59
, 60
) . Striking is that the light in the cabin is slowly disappearing. The more time passes on, the darker it becomes exposing the evolution of Jihwa’s situation. His world is getting darker as he is more desperate and emotionally wounded.
Exactly like I had explained, he will become Jihwa’s hands but since the noble is now forced to make the decision himself, he will have to bear the responsibility for his decision. If he hadn’t witnessed this, the desperate aristocrat would have refused to be accountable for the crime. The criminal detected the guilty conscience consequently he postponed the murder hoping that the aristocrat would change his mind. In my opinion, he believes that the noble won’t be able to express the death sentence. In two occasions, he underlined the severity of the wrongdoing (chapter 51
) which is a clue for me that the butcher doesn’t want the noble to have his hands tainted. Observe that during the last scene, the criminal proposes other alternatives: death or turning Baek Na-Kyum into a handicapped person who can never tell what happened.
Note that here again, he is utilizing the present underlining one more time he is not thinking about the future. The past pushed him to make this decision and observe that during his escape, he expresses no reproach towards his adoptive mother or to Jung In-Hun. He just remembers their nice gestures, the caress on the cheek 
and the teacher’s smile, 
or her last words. So when he describes his situation to the head maid, it shows that he is satisfied with the moment as he has a roof over his head and is able to eat. 
, he has never criticized him for that night afterwards, although he could have, since he could have been raped. In fact, he has never brought it up, while the lord was actually expecting resent and rejection the next morning. He even confessed in such a way that he imagined that the artist would escape. But to his astonishment, the artist had remained by his side. Besides, note, it is not even present during the memories!!! Then when they meet again, he takes care of him and wants to make sure that Seungho feels more comfortable.
I have the impression that he is not using the past because he has no ill intention towards others and he doesn’t want to play the victim either. Moreover, I believe, in his eyes bringing up the past doesn’t change his actual situation: he was abandoned and that’s a fact. He accepts his fate as painful as it is therefore he doesn’t blame anyone either. Now, you understand why I associated Baek Na-Kyum to the present in this panel and why Jihwa embodies the past.
they were surprised that the painter somehow recalled that Yoon Seungho even took care of him after their first night together. And it shows that Baek Na-Kyum knew somehow that he had slept with Seungho but preferred repressing it for two reasons. First, he wanted to keep the image that he had not violated his learned sir’s doctrines. Secondly he lives in the present hence it should remain in the past. Consequently it was better for him to lie to himself and to others that he had no memory, while the manhwaphiles are aware that he saw glimpses of it and now this panel is a proof that he knew deep down what had happened. 
Observe how close the lord’s head is touching the painter’s. He is embracing him as if he didn’t want to be separated.
his future is now to enjoy his sexual encounters with the painter, never hoping that they will share what they have on their mind. As you can observe, he is gradually adopting the painter’s philosophy: enjoying the moment. Thanks to the painter, he has been able to move on from the past but he is no longer projecting a future too. Therefore he rejects Jihwa by saying that he will never reciprocate his feelings. 
He has given up on the future hence he can stipulate that Jihwa and him can never be together in the future (“ever”). Actually the climax is reached in chapter 58 which chronologically happens after Jihwa’s love confession and his rejection. When the master confesses his feelings for the low-born, he declares to his lover, he is no longer expecting a love confession from him, it will remain an illusion.
He is now embracing the painter’s philosophy. He is living in the moment, enjoying his time with him. That’s why I perceive this second wedding night stands under the sign of present too. The lord wants to love the painter selflessly and is expecting nothing in return. That’s the reason why the lord can sleep more peacefully during that night.
He started moving on from the past before 
and is no longer dreaming of an uncertain and even impossible future.
In chapter 35, the lord spent a terrible night as he was thinking how to reconnect with the painter (another reference to the future). These aspects are relevant in my opinion because it explicates why the lord hasn’t paid attention to his lover’s real desires or future yet. We know for sure that the low-born wanted to be able to read and write. He felt very embarrassed, when Seungho exposed his illiteracy. And now you understand why Baek Na-Kyum was left unprotected in the end. Because the lord was living more and more in the moment, he neglected the future and as such a real protection for his lover. As you can observe, in the beginning Seungho was a man living in the past but thanks to the artist, he transformed into a different person. And with Jihwa by his side, he could never move on from the past as the latter kept reminding him about it with the hope, they could be together one day. The problem was that with these actions, Seungho could never dream of any future as Jihwa kept him trapped in the past. 
etc…. 
This implies that Jung In-Hun has no impact in his life now, especially since the commoner dropped his doctrines for good. Yet it looks like he doesn’t resent his teacher at all, as he no longer thinks about him or feels the need to get revenge. And if he remembers him, then he associates him to fakeness. So this doesn’t signify that Jung In-Hun will have the same effect, when he returns to the mansion, in fact it means the opposite. The scholar has no power over the painter any longer, just like the memories proved it. Consequently the former teacher will experience a terrible surprise, when he returns, as Baek Na-Kyum will no longer treat him like his admired sir. I would even say, he will keep his distance from him. The scholar is actually expecting that the artist will forget his betrayal and abandonment, just like he did in the past. He still has the impression that he will be able to use Baek Na-Kyum like he did before. As you can observe, the painter is really forgiving in the end because despite the inflicted pain, he is not looking for revenge. Why is he like that? In my opinion, his positive attitude is strongly connected to the way he lives. He lives more in the moment hence he never holds grudges (Carpe diem), which contrasts so much to Jihwa’s behavior who utilizes it for his advantage. Observe that the noble brought up the past for his confession twice.
Therefore I have come to the deduction that Baek Na-Kyum will definitely show the same attitude towards Jihwa like he did with Seungho. At some point, he will forgive him for his kidnapping and the terrible treatment he suffered afterwards. Let’s not forget that the artist is now the one discovering the past and heard that Jihwa was considered sick as well. And this is no coincidence. For me, the artist will come to understand what Jihwa and Seungho went through and help them to move on. Like I pointed out above, the commoner has always been able to move on from the past and has never held deep grudges. For me, the artist will serve as a model for his lover and will show him and Jihwa what true forgiveness means. But I have to admit that this is more a prediction, yet based on my observations and interpretation.
Thanks to the lord, the painter has also transformed. Instead of being drunk and not thinking, he has been able to paint and is thinking on his own. Now, he is not lying on the ground but sitting straight while pondering. He is still on his own but his solitude is here chosen and not forced. He left Seungho’s side in order to reflect about the master’s confession and love. And this is no coincidence that the painter’s former position is now mirrored by Jihwa’s. The latter is the one who has been rejected and abandoned by his surrogate “father”/lover. 
He is wearing a black or dark grey cloth. One might argue that this is just reflecting Jihwa’s mood, as he has just been pushed away. He feels like dying, yet I judge it a little differently for Jihwa is not the one who chose the cloth, unlike in the past. This time, Nameless gave him the robe. 
Let’s not forget that Jihwa is already responsible for Deok Jae’s death, although he has no idea about it. Furthermore, the big commoner will also affect Yoon Seungho’s life, since the latter has a special relationship with Jihwa and Baek Na-Kyum. Because Yoon Seungho has a similar function than Jung In-Hun (unfulfilled Jihwa’s love interest mirroring Baek Na-Kyum’s adoration for the scholar), I can imagine that the criminal will first perceive Yoon Seungho as an enemy, in particular since he plans to protect Jihwa. And now, you understand why I selected this title. I’ll examine this chapter under the aspect of past, present and future.
. When the protagonist explained in chapter 55 how he felt to the painter, he was actually referring to the rape. When he got rejected by the painter at the pavilion, the painter’s reactions and gaze triggered such negative emotions in Yoon Seungho. 
He was reminded of his past and the incident with the topknot. Like I had explicated in another analysis, this scene from the protagonist’s past is deeply intertwined with jealousy, rejection, fear of abandonment and his self-hatred due to the negative reflection perceived in the father’s gaze. Hence we have to imagine that Jihwa must have said something about father Yoon, abandonment and Yoon Seungho’s negative image which could only trigger the lord’s fury. The negative reflection is already implied with the idiom “common brute”. As you can observe, the red-haired aristocrat utilizes his knowledge of the past in order to hurt his lover and in my opinion, it was related to Seungho’s abandonment issues. The third evidence for Jihwa’s preference to use the past is visible in the following panel.
One might argue that he was just referring to the letter and Black Heart’s insult here. Yet, now we know for sure that the former sex partner wounded his friend even before the appearance of the painter in their life. Because of his friend’s bad actions, the main lead could never reveal his vulnerabilities out of fear that his loved one would use it as a weapon to hurt him, something he had even experienced with his childhood friend. Jihwa did contribute to his loneliness as the former wanted him to rely on him, to look at him. This also explains why Seungho could never sense Jihwa’s attachment for him. 
but directed at him this time. And now you understand why Jihwa is so obsessed with the past. It was, as if he wanted to return to the past before the tragedy occurred but this was and is impossible. At the same time, his hopes made him project himself in the future. He would get loved by his friend as he was the only one constant lover in the main lead’s life. And now, it becomes more comprehensible why the aristocrat played with time. In his mind, time would help him: the past and the future were his motivations. The consequence of this mindset is that Jihwa was never satisfied with the present, the current situation where he saw Yoon Seungho fooling around with other men. 
Jihwa was declared sick, just like Seungho. In my opinion, with this statement, something bad must have happened to Jihwa, yet his suffering was different to Seungho’s therefore his insecurities are expressed differently. He was never exposed to gangrape and prostitution. The second proof appears when Jihwa declares to his friends this :
Even the noble with the mole points out that after such a humiliation and fight, the person would distance himself from the offender for good. But Jihwa justified his behavior by pointing out that he had a special position in Seungho’s life without revealing too much. He was connected to Yoon Seungho by their past and knew about his nightmares and his insomnia.
And this shows that Jihwa’s prank was not the only plot he did behind his friend’s back. He knew exactly which trigger he could pull in order to infuriate and wound his lover. 
Observe that Jihwa is comparing the painter to a toy. These words are relevant for two reasons. First Jihwa tries to diminish the importance of the protagonist’s sex partners. They are just toys, while in reality he considers them as rivals. Consequently, he needs to make sure that they are just toys for his lover and nothing more. In his mind, they are no humans, just pawns for the friend’s distraction, he is trying to reassure himself in the end. But in my opinion, his mouth is actually contradicting his own heart, as he was never satisfied with the situation that Seungho had many lovers. He felt really upset and betrayed hence in his heart, he always resented his childhood friend which he finally admitted in his love confession. 
The red-haired aristocrat just knows a little bit of his past but doesn’t truly comprehend Seungho’s suffering. He just saw the symptoms but is not aware of the real source of his nightmares (the true events). His obsessive love disorder stands in opposition to the painter’s pure adoration. While Jihwa only saw his friend’s flaws, the artist was doing the opposite. He idealized his learned sir to the point that he was used. With these two examples, Byeonduck clearly illustrates what true love really means: accept a person with his qualities and flaws and being selfless. Real love shouldn’t make someone blind as it can only lead to disappointment. 
, he couldn’t believe his own ears so that he had to ask her for a confirmation. 
this displays how his mind was refusing to see and hear what his heart and unconscious was already sensing. There’s a reason for his resistance. The manhwaphiles should remember that the painter’s conscious has always represented his strength but also his last wall of protection. This explains why it took the noble a very long time to be able to remove the doctrines imposed by Jung In-Hun on the low-born. At the same time, his unconscious was always the one telling the painter what he truly wished deep down. Consequently, we witness how Baek Na-Kyum dreams of Yoon Seungho’s love confession first but when it happens, his mind can’t process it. It’s too crazy to accept this truth. But if you pay attention, despite his reluctance to accept the obvious, his face is red showing how much these memories and this reality affect him. He is definitely moved. This reminds us of the lord’s attitude who denied his feelings for the low-born. We could say that Baek Na-Kyum is experiencing a similar situation. And the flashbacks reveal the disappearance of the scholar’s influence in Baek Na-Kyum’s life. He only appears once and just as a reminder. Back then, the low-born felt a little hurt by Jung In-Hun’s comment and now, he feels nothing. He just remembers his words and nothing more. Slowly, the painter is accepting the reality that Seungho loves him and has cared for him for a long time.
For the first time, he is deeply sleeping. Sure, one might argue that he is sick, yet I doubt that the illness explains everything. In my opinion, the fact that Baek Na-Kyum accepted his confession and made love in that room could only make him happy. For the first time, someone accepted him without criticizing or blaming him. He was allowed to be himself and to show his vulnerabilities without getting hurt. Jihwa never saw the real signification of Seungho’s gestures, when he spent the night with him. Since he is overlooking the present, he had the impression that this night together had brought them closer, while it was not the case. Seungho had sensed that Jihwa couldn’t give him the comfort needed. But since Jihwa had spent one night with him, it became a memory and a justification to claim that he knew his friend better than everyone else. 
, while confessing as he recognized his bad actions. He had no hope and was actually expecting to get rejected. However, Jihwa looked at the friend’s face on his knees, searching his closeness in order to convey his feelings properly. 
But the low-born kept rejecting him which made the aristocrat suffer. Consequently the loved one had to suffer due to their “rejections”. And we have the same case here. Yoon Seungho became the real victim of Jihwa’s pranks.
Notice that the painter is hoping that the low noble would see his affection and respect. Remember what I wrote about Jihwa’s doomed love with Yoon Seungho. He was deep down hoping the same, seeing admiration in his friend’s gaze but he could never get it as the former was too wounded. Therefore I come to the conclusion that Yoon Seungho is playing the same role than Jung In-Hun had with the painter. Let’s not forget that the scholar was also Baek Na-Kyum’s first love. Jihwa has been also longing that his feelings would been perceived by his childhood friend. Another analogy is that the red-haired master has a false perception of Yoon Seungho. He’s a man consumed by lust, but his love started in his childhood, hence the source of his affection comes from a certain idealization. Jihwa has the impression, he knows the friend the best because he knows his past. 
Here, the painter was using a lot the personal pronoun “I, me” and was telling his lover that he was finally willing to accept Yoon Seungho as lover but he would never give him his heart. Since Seungho was the one who had to lick and to kiss him in order to make the artist feel good, the painter was not hiding that he was using Yoon Seungho as a tool for his own enjoyment. The artist had put himself on a pedestal, 
which was also reflected in his position. Notice that the noble had to look up. The powerful master should treasure him and their physical relationship. Since in that confession, he was admitting that he was using the lord, this signifies the artist didn’t pay attention to Yoon Seungho’s feelings and desires. Baek Na-Kyum was indeed inconsiderate, yet here he wasn’t even hiding his thoughts. He was once again brutally honest. There’s reason why I continue associating brutality with honesty. It’s because each time the painter was sincere, his words wounded the lord very much. For Yoon Seungho, each word must have felt like a stab in his heart, hence he was not happy at all, after hearing this confession. Remember that he wanted to get angry but was stopped by a tender kiss. Besides, I am not the only one who criticizes the painter for his selfishness. Even valet Kim reminded him in the chapter 52 that he was acting like a spoiled child. 
The beholder would interpret from Jihwa’s posture that Jihwa is humble and devoted, yet his speech is actually contradicting his attitude. Despite on his knees, he is the one who forgives, while in reality a witness would think, the opposite is happening as Jihwa looks as if he was begging. Yet his stance reveals the red-haired master’s despair, he’s indeed pleading his friend to acknowledge his feelings. Simultaneously, he appears as arrogant as he judges his friend as man consumed by lust and blames him for his reckless behavior. In my opinion, he’s a little pretentious because he thinks that he knows everything about the noble’s past. But since he’s still acting like a child, there is no ambiguity that he is actually naive. That’s why I believe that when he sent the letter, he didn’t grasp the scope of his action. He knew that he would get hurt, yet I don’t believe that Jihwa is exactly aware of the true event with lord Song. Furthermore let’s not forget that I link this declaration with the painter’s first confession too. Here, the commoner had put the scholar on a pedestal, hence he had to stand on tiptoes reflecting his “admiration”.
Back then, the low-born had put the scholar on a pedestal indeed. He had confessed that he pined on him and would respect him so much and as you can detect, Jihwa is actually saying the opposite. Yoon Seungho is far from being admirable that’s why the protagonist’s heart can never be moved. 
Hence this is the other cause for the failure of his confession. Jihwa could never obtain what he wanted, the admiration in Yoon Seungho’s eyes as the red-haired master never reflected real admiration in his eyes. As a conclusion, he couldn’t get past the image of a man obsessed with sex. How can Yoon Seungho love him back, if the noble judges him like all the others? In order to love someone, the main lead needed to perceive himself differently, as he already hated himself so much. 
He showed him an attractive man, worthy to be desired. Besides, he was indeed physically attracted to him. Sure, now he is not admiring the lord spiritually but once he accepts the noble, the latter will reveal his qualities which he could never reveal as he never felt loved. Baek Na-Kyum will discover a new side of Yoon Seungho: educated, intelligent and even patient. Jihwa says that he knows the reason for this reckless behavior, however I believe that Jihwa doesn’t grasp the whole dimension of the main lead’s suffering.
The lord came personally later and stood there, like he was on a podium, while the painter was lying on the ground. Just before, he had been rolled up in a mat. And observe, the scene at the tavern is really similar, although the perspective diverges. The lord kicked the friend so that the latter fell down. 
The main lead is standing, while the other is lying on the floor, hurt, exactly like the painter. Let’s not forget my theory that Jihwa is the noble version of the painter. But there are actually more parallels between these two incidents hence it is necessary that I outline all the similarities by listing all the elements contained in both incidents:
, whereas we have a letter reminding the lord of his terrible past.
Both are just pieces of paper, yet they have such an impact on the main lead. Both causes immense pain in the main character’s heart. In the first case, it was as if his identity had been erased. Let’s not forget that the protagonist perceived himself as a ghost but thanks to the erotic pictures, he could feel alive. And the moment the painter portrayed him, he saw a different reflection about himself, like I mentioned above. It could liberate him from his self-hatred, he saw that he was desirable. Simultaneously, the drawings were a proof that he was actually a man defeating his enemies, the double-faced and treacherous nobles, as a part of his “revenge”. As for the letter, it was a reminder of his terrible past. It’s clear that Lord Song is someone terrible based on Kim’s reaction. I have to admit that after giving some thoughts, I have come to the conclusion, the mysterious lord must be an older version of lord Min. But let’s get back to the comparison. Both pieces of paper caused a scene: a punishment. While Jihwa received a kick, 
the painter was condemned to the straw mat beating. One might say that the last punishment is worst as Baek Na-Kyum could have become handicapped or even worse, he could have lost his life. However, the kick in a public place for a noble is already a big humiliation. Not only he appears as a weak person but a kick is a treatment rather reserved to commoners. His reputation can only be affected (rumors). Let’s not forget the importance of honor for an aristocrat. Having a title is a synonym for respect and privileges, yet the boot on his arm gives the impression to the folks that Jihwa’s lacking of honor. It was as if he was a low-born despite his nice appearance.
(chapter 12)
Then the reaction of the ukes is very similar. 
Notice how the painter cries begging the lord for his leniency, whereas the red-haired noble weeps telling the lord that he will forgive him for his rude behavior.
after his release.
in the chapter 13 by pushing him very hard onto the floor hence we could say the kick Jihwa receives in the chapter 56 is the punishment for his gesture towards the servant and the foot on his throat is the sanction for the prank with the letter. Jihwa is indeed treated like a commoner. People might say that Jihwa is acting according to his status, as a noble is entitled to mistreat commoners. Nonetheless, my impression is that one of the main messages from this manhwa is that “prejudices” will only lead to suffering: karma. Baek Na-Kyum got sanctioned for rejecting and denying his own homosexuality, whereas one of Jihwa’s prejudice is about the commoners. This is not surprising that his suffering keeps increasing as he is never questioning this doctrine that low-borns are no real humans, not worthy of any respect. My readers are well aware that Baek Na-Kyum was living according to the scholar’s doctrines, therefore we have to imagine that Jihwa has also been living following the social norms of the nobility: commoners are low lives.
therefore he constantly gets disgraced in front of them (chapter 18, 36, 43, 57). This is his karma for defending such unjust norms. That might be the common norm for back then, but since Baek Na-Kyum has suffered because he defended doctrines condemning sodomy, it becomes clear that Jihwa’s role as a character has another purpose: the lack of respect for low-borns. 
But this one is less obvious because he loved his teacher, a low noble. Since I sense that Jihwa is very similar to the painter, then we have to conclude that Jihwa has two prejudices. The artist denied his homosexuality and he saw the nobles as nobles only good in appearance. That’s why I believe that Jihwa is more prejudiced towards commoners, yet he isn’t truly admitting his homosexuality. I am well aware that some might doubt this interpretation. First, the manhwalovers should remember that Baek Na-Kyum came to deny his sexual orientation due to the intervention of the low noble. So his natural homosexuality was repressed. Since Jihwa has been in love with Yoon Seungho, he’s also a natural homosexual. And it looks like Jihwa’s sexual orientation has also been repressed somehow. Remember that we have this: 
The other evidences for this interpretation are the following:
Observe, this time the lower lip is going down. Therefore I come to the conclusion that he is actually reproaching his friend for living marks on his body, a proof of his hidden homosexuality. Besides, if he was rejoicing, we should see the exclamation mark and not the suspension point. Another evidence of his not truly outlived homosexuality is the following: he hides the hickeys the moment the servant barges in his room. 
Yet, the moment he hears about the visit, he doesn’t pay attention that the hickeys are still visible. Then at the pavilion, he tries to suggest to move to his bedchamber. 
He is definitely trying to influence Yoon Seungho with this rhetorical question. He doesn’t want to be seen by his staff. But for me, the biggest clue that he is not truly admitting his sexual orientation is in the chapter 18: 
Notice that sodomy has a certain pejorative connotation. According to the nobility, homosexual intercourse is tolerated, yet the red-haired master insinuates with so deep that there’s a limit. Hence homosexuality with commoners is not allowed. For me, this limitation is actually an allusion that feelings between two men are not allowed, that’s why it’s not allowed to do it with commoners. Why? Because among nobles, they can hide their love behind business and exchange of favors and this is exactly what Jihwa did. This explains why Jihwa defended his honor that he had been using Yoon Seungho while being with him.
He could legitimate his sodomy by saying that he had some favor to ask. Yet, this was just a cover and everyone was well aware that Jihwa was in love with the noble. So there’s a certain hypocrisy, which is quite similar to Baek Na-Kyum’s who accepted to work for the main lead for his scholar’s sake. 
The only difference is that Jihwa is in love with his childhood friend. Because he tried to hide his love for his childhood friend, we could say that he hasn’t truly admitted his own homosexuality. 
We shouldn’t forget that at the pavilion, he admitted to have loved the scholar. And this is another reason why Jihwa could only fail with his attempt. 
in order to save his face. Here, we can definitely perceive how much he values his reputation and honor. That’s why he couldn’t go to his friend and beg to take him back, after witnessing the love session between Seungho and the painter. Jihwa was well aware that he could no longer approach the friend, because this would mean, he would go back on his word. Hence he knew that he had to initiate something so that Yoon Seungho would come to see him. So the painful reminder was the only way to force the noble to encounter him. That’s why the noble laughed, when he saw his former friend. His trick had worked. Yet the moment, his friend put him together with Min, he could only get hurt. He was treated like all the others, while he saw himself as different, since he had feelings for him. Hence he tries to legitimate his action with the letter, he was trying to explain that he was only one who knew his dark past. 
where the wolf symbolizing Yoon Seungho is tamed by Baek Na-Kyum, the innocent rabbit. When I saw this very cute story, it made me smile because it illustrates the taming of the main protagonist. 
quickly, like in the chapter 57. Let’s not forget how he yelled at Deok-Jae for his so-called prank.
It was as if he was barking at the vicious domestic. 
The next morning, he is no longer wearing it. He gave his robe to the painter as cover.
It definitely marks the moment of his “death” and announces his rebirth. It has not occurred yet, since he is still feverish but we should consider it as a part of his rebirth: he rises from the ashes. It becomes clear that the rebirth of a phoenix is related to fire and you all know the expressions “to burn a fever” or “to burn out a fever”. As you can observe, fever is indeed linked to fire. That’s why I came to the realization that Yoon Seungho is in reality a phoenix which would explain why father Yoon was so jealous of his son. How can a dragon exist next to a phoenix? Both are mystical animals, yet let me remind my readers that father Yoon has only the eyes of a dragon, he’s not a real dragon. Nonetheless, my association to a bird for Yoon Seungho was actually correct , it’s just the choice of the bird was wrong. 
That’s why I feared for his life after reading the first season. Since the start of the new season, I had to review my prediction and now I believe that he will get terribly hurt. My thoughts were that he would either lose his title or get a scar… due to a big injury. I came to this belief after recognizing that this character is very similar to Baek Na-Kyum. Since the latter got raped in the first season, I am anticipating that the noble will suffer a lot as well. It will take him a while before he becomes a true crane and that’s only because of his fateful encounter with Nameless. But as Jihwa is the mirror of Baek Na-Kyum, this means that the painter is actually a crane too. And this is definitely no coincidence that in the chapter 45, Baek Na-Kyum is covered with a cloth where the pattern contains cranes. 
That’s why I came to the conclusion, Baek Na-Kyum is actually a crane but due to his social status, he was a lamb. I have to admit that in the manhwa “Serene Bird” which is very similar to “Painter Of The night”, the pure and innocent Yoo Chung is called a crane by the seme
which can only reinforce my interpretation. Baek Na-Kyum is the one who will bring good fortune, freedom, honor, royalty, happiness, balance, grace, prestige and love to our protagonist Yoon Seungho. 
Imagine the humiliation for Jung In-Hun. He is indeed used by the powerful seme and has to confirm that Baek Na-Kyum is a noble in exchange for the sponsorship. We shouldn’t forget that the painter’s origins are unknown and the head gisaeng handed over the artist to the low noble, implying that the latter had become his official guardian.
As for the women from the brothel, they would never reveal his true origins since they are well aware of the negative repercussions. 
Secondly, the scholar arrived at the mansion shortly after the painter’s occurrence. Third, when his study was always next to the lord’s chamber and he was sleeping in a bed reserved for a master. Even the doctor got confused because the painter was dressed like a low-born but he was sleeping in a nice bed, when he examined him for the first time.
At the same time, a wolf is very loyal and protective which the criminal does, when it comes to Jihwa. A wolf can definitely be tamed too, yet it still keeps his dangerous aura.
and already announces his final transformation. But in order to understand why I came to this interpretation, you have to read or remember the essay called “Drawings and emotions, part 3”. Back then, I discovered a link between the moon and the house. 
We have to imagine that the lord was the one opening the door so that the fresh air would enter the room, since we hear the sound of steps. It looks like the bubbles are entering the lord’s chamber and notice the change of colors. first, the number has increased there are 5 and the colors are different. One is red and the other white and glowing. Two are very small and the last one is even vanishing. From my perspective, the white one represents the lord’s mind, while the small blue one is the unconscious. As for the red, I would say that it symbolizes the lord’s wound and trauma which is still fresh, while the transparent bubble disappearing could embody father Yoon’s shadow. Little by little, the agony caused by his father’s abandonment and betrayal is diminishing. 
So he has been waiting for this moment, but since he sensed his condition worsening, he had to speed up the procedure. This explains why he left the door open. The opened door symbolizes the noble’s confession. He is now revealing himself to the painter and let’s not forget my association of the door to the painter. Finally, he is letting the artist enter into his mind and heart for real. 
(chapter 55) For the first time, Byeonduck chose the chimney and not just the roof or the walls. In my opinion, the change indicates the transformation of Baek Na-Kyum. The chimney is a metaphor for warmth and love. In French, the word “foyer” has two meanings: home and fireplace. As you can see, French relate home with the fireplace. And this is no coincidence. For Baek Na-Kyum, the mansion is slowly turning into a real home, where he can feel warmth and love. Simultaneously, we could say that the artist has become the fireplace for the lord, where he can finally feel loved and accepted. Since I have started analyzing this manhwa very carefully, I have no doubt that these two drawings convey much more than giving the info: the servants are preparing the medicine for their master during the day. Furthermore, this kind of picture doesn’t seem to contribute to the story itself. So why paint such drawings? It is because they serve another purpose: a metaphor for the next scene. Notice that shortly after this panel, we see Baek Na-Kyum bringing a bucket of water. He wants to take care of Yoon Seungho himself. 
He must have been acting on his own accord as Kim doesn’t pay attention to him. Kim is not even looking at what the artist brought indicating that Kim had no expectation from him. Imagine, now the artist is willing to help and makes decisions on his own. Besides, he doesn’t feel out of place, when the physician is giving his recommendation or criticizing the lord for his bad behavior leading his illness to worsen. The painter feels as if it was his place to take care of his lover. He is the one giving the warmth and care to his lover, paying attention to his every move. The chimney signaled the painter’s future behavior. 
This is the moon again which I had already associated to the powerful but sick aristocrat. What caught my attention is that for the first time, the stars are visible in the sky. The moon is more glowing as well and seems to get closer. If you compare it to the former image with the moon night 
, you can observe that the moon seems to be even closer than before. This reflects the improvement of the relationship between the painter and Yoon Seungho. Since the chimney symbolizes the artist, it is normal that this time, we don’t see the roof or the walls of the mansion. The chimney is closer to the sky and stands above the roof of the mansion. In other words, Baek Na-Kyum has not only become closer to the lord but also he is thinking only about the main character. We have to imagine, the commoner as the chimney is starring at the moon. 
As you can see, the pictures about the sky were important as they displayed what was going to happen. They announce the change in the sick main lead’s and the painter’s attitude. Baek Na-Kyum is no longer a servant but the fireplace of that mansion. That’s why the white headband disappears again. 
As you can sense, I desire to understand the powerful protagonist as he represents the biggest puzzle and attraction in this manhwa. That’s why I keep making so many theories. Some of them came true, others didn’t and others are still not confirmed (drug-facilitated gangrape and Yoon Seungho wasn’t a homosexual right from the start). 
However, this time the debauchery and distance occurred first and not after the sex marathon. I see the planned sex session 
in the chapter 54 as a new version of the sex marathon 
because if it had really happened, the artist would have been forced to satisfy 4 aristocrats: Seungho, Min and the two others and it would have become a sex marathon in the end. I could even add the kiss in the chapter 50 
is a new repetition of the kiss in the chapter 33 
as the painter is not awake. Back then, he did it in order to have the painter drunk some water, in the second season, he just feels the desire to be tender, show his affection. He is no longer pressured, he is just following his heart. I could keep comparing like that but since the main goal of this essay is to elaborate my conjectures, I would like to stop here. However, this explication is important as it was the reason why I came up with the ideas.
, in the chapter 53 the artist embraces the lord entirely. 
The painter is not hesitating unlike in the past. He is strong-willed with his hug, however the hands are trembling too.
as a new version of the scholar’s kiss.
But since Min has no problem to have sex with men, he doesn’t feel any shame to kiss the painter’s lips. Since Min is called Black Heart, it confirms my conclusion that love is in the center of the second season, since the heart is the symbol for love. 
Observe that she didn’t show the mouth or the cheek, which would have been a clue that the painter had been hurt and now we would be able to place the picture in the evolution of the story.
And my idea is that after these incidents, the painter decides to take his responsibility for the lord (a new version of the chapter 40).
And if we remember the scene in the chapter 35 where both are sitting next to each other without becoming intimate first, then we realize that the aphrodisiac, organized by Kim, didn’t help the noble in the long term. During that evening, the painter could have observed Yoon Seungho reading and writing and become curious, but it never came to this, for the low-born was fighting against the effect of the drug. However, now the young man is no longer in need of the drug, he has already accepted the noble physically. That’s why I am expecting a second invitation from Yoon Seungho asking the artist to paint in his chamber. Yet, this time, I believe that there will be a real exchange. Remember that I told you that the noble will become the commoner’s teacher and from my point of view, it will come soon. From that moment, the painter will see the lord in a different light so that he will become more and more attracted to Yoon Seungho spiritually. It had already started at the end of the first season, because Baek Na-Kyum was already acting as Seungho’s student (he used critical thinking). He questioned Jung In-Hun’s words and actions. Yet the sensual love was masking the spiritual influence and undetected admiration. As for the lord, who has been longing for spiritual love, he will realize that he has always desired physical love too but thought, he just wanted to be accepted as a spirit. But now, he is no longer a spirit but a man with a heart hence he needs to recognize that physical and spiritual love can coexist. In reality, spirituality and sensuality don’t stand in opposition but complete each other that’s what both need to recognize. The painter admired Jung In-Hun so much that he wanted to make love to him, however the influential noble could never grasp it because he was too obsessed with the idea to replace Jung In-hun with himself. Moreover, he still has no idea about the coercive persuasion. As you can observe, the second season is about the discovery of spiritual love. The painter is on his way to perceive a new side of Yoon Seungho and the latter will not only get what he desired the most but will realize that he has always wished something else too: real intimacy. What Seungho meant with 
was in reality sharing their hearts and opening up. But in order to realize this, Yoon Seungho and Baek Na-Kyum will have to face danger. Yoon Seungho has to get aware that due to their relationship, the painter has become a target. So far, the lord has been more concerned with the artist’s health hence he has not anticipated that someone might decide to harm his loved one. That’s why I believe that the painter could get really injured. And in my opinion, the same could occur to the powerful aristocrat as well. So far, he was physically strong, yet he is not a god. In other words, he is not invincible and the chapter 54 proved it. The main character was hurt emotionally
and mentally 
during that night. I consider this chapter as very important because it shows the lord’s vulnerability at its best. I know, some of my readers have already anticipated that Yoon Seungho would get hurt by protecting his lover and based on my observations, it could indeed become true. Or he becomes literally devastated, when he loses his valet Kim hence the painter will witness his vulnerability. Besides, Byeonduck has the tendency to use pain as a way for the characters to grow mentally and emotionally. Let’s not forget that the rejection of the scholar’s doctrine was a very painful process, therefore I am already envisioning more heartache in the future. The fear of losing the loved one will hit them hard, only then they will realize their true feelings for each other. Both will feel the same pain, when the other is physically or mentally hurt. That’s how they will realize that there is more between them than just sex.
I couldn’t help myself associating the painter’s departure with the scholar. Let’s not forget that in the chapter 29, the low noble convinces the commoner to return to the mansion as the former needs him so that he can still be sponsored by the lord. Besides the vicious man hopes that the low-born can discover secrets about Yoon Seungho. With “second desertion” and “Jung In-Hun”, I had this idea. What if the painter decides to leave the mansion due to the return of the scholar? We shouldn’t forget that now the teacher is aware of the lord’s feelings for the painter and he has already decided to use this info for his benefit. 
He plans to use the painter again and this time, he won’t hide his true thoughts. Since in his eyes, Baek Na-Kyum is a prostitute, he will ask the painter, that the latter should behave like one and serve him. While in the chapter 40, the low noble rejected the painter and refused to take his responsibility for him, I imagine that the scholar will do the exact opposite in the second season. He will ask the painter to take responsibility for him and spy on the lord. Because the painter refuses to betray Yoon Seungho, he has become attached to him, he prefers leaving the mansion so that he is no longer forced to act against him. Let’s not forget that in the first season, Baek Na-Kyum decided to lie to the scholar and protected Yoon Seungho. With this idea, we would have a new version of the chapter 38, 40 and 44. This time, the artist is escaping because he thinks that’s the best way to help Yoon Seungho. And just after his desertion, the second assassination or kidnap takes place. On the other hand, once the flee is discovered, unlike in the past, Yoon Seungho doesn’t beat his servants but instead run after his loved one which would contrast to his passivity in the chapter 44. Once he catches the painter, he has to fight against Min. This is where I imagine that the lord gets hurt or the valet. So what do you think about this theory of Jung In-hun being the cause for the second escape? First, this would mean that with this action, the scholar ruins all his chances with Yoon Seungho so that the teacher can only seek support elsewhere and ends up meeting father Yoon. Because of these terrible experiences, both main leads would be able to see beyond their intimacy and sense their spiritual attachment. On the other hand, I have to admit that for me, the lord was already spiritually attracted by the painter through the paintings and once he met him for the first time, his heart started racing. He became physically attracted by him hence he grabbed his hands and let him touch his loins.
This gesture indicates that his body was already reacting to the painter’s presence, yet the lord never realized it.
, yet I believe that the painter will only discover it at the end. We should remember that the poem started the whole drama. Without this miserable copy, the main lead would have never invited the low born to his mansion and decided to sponsor him. Then the artist would realize what the separation truly meant at the beginning of the second season. 
. Observe that he is standing at the door, totally furious and even jealous. At the end of the chapter 52, the lord is also standing at the door as well, definitely infuriated for his gaze betrays his emotions. Yet he is saying the opposite of his true thoughts because he is standing in front of a double-faced and vicious aristocrat. In the chapter 26, he revealed his true intentions as he has always been frank and straightforward with the painter. Since he knows and values the artist’s honesty, he acts the same. That’s why I came to this idea. But the problem with this idea is that Yoon Seungho would be suspected. Since he once declared to the painter that no one would connect a noble’s death with him,
we have to envisage other possibilities. The protagonist has to be seen elsewhere. In order to divert attention, he needs to create a huge scandal. Therefore if a sword is used, then Nameless could be involved and they will frame the guest who is high with the excuse that he acted under delirium. 
. So from strangulation, I came to suffocation, the impossibility to breathe. I couldn’t restrain myself from associating asphyxiation to the first picture of the chapter 52, when the evil aristocrat is smoking with his mouth wide open and his head is looking up.
, since there is a question mark and he adds: „Dammit“. Because of this, I assume that the servant spied on the low-born and observed him going to the noble’s bedchamber. Therefore he imagined that the artist would spend the evening with the lord. For him, the master is just a man consumed by lust, hence he won’t send away the artist. I have to admit that my first thought was that Baek Na-Kyum would leave the mansion again, either on his own will or forced. However, I changed my mind as we already have three escapes from the low-born. The first one takes place in the chapter 4, where Yoon Seungho can stop him. Then we have another desertion in the chapter 29 and the third departure was mentioned in the chapter 46. 
His reaction was terrible: he was so enraged that he started beating all his servants since they hadn’t noticed the commoner’s escape. The staff should have kept an eye on him. And note how many parallels exist between the chapter 29/30 and 52:
before getting dragged to the lord’s room for a sex marathon, I have the impression, the manhwalovers could witness a new version of the sex marathon, especially if my theory is correct that the author might have developed her chapter 53 as a reflection of the chapter 30. However, there will be a huge variation: the chronology. We have a change of clothes, then the visit to the lord’s chamber. Finally the low-born discovers his ransacked room, while the lord is angry due to Min’s words and behavior. This divergence will lead to a different outcome. 
He only intervened, when he saw that the maids were still looking down on the commoner. Back then, the aristocrat had to warn them. I envision that the lord will intervene the moment Deok-Jae starts getting violent. Because of that, Yoon Seungho could decide to drag the servant and punish him for his behavior. We would still have a dragging, like in the chapter 30 but this time, the person is different and the lord has a reason. Deok-Jae committed a crime. Yoon Seungho could grab the domestic by the topknot and punish him, like he did with Jihwa.
Yet, I have the impression that Baek Na-Kyum could act differently and no longer remains passive, like in the chapter 18. This time, he pleads for leniency. 
He never replied and criticized him for his attitude. From my point of view, the low-born has really changed, has already rediscovered his identity and found a certain confidence. He is now part of the mansion hence he needs to be proactive. He hasn’t forgotten the valet’s words: he is not a spoiled princess and as such, he can’t expect rescue from anyone. He needs to fight for his own place. My prediction is that he will question Deok-Jae about the reason for his action. As we experienced in the chapter 52 how the commoner would even question the lord’s actions and behavior.
This could be the new version of the painter’s plea. 
His face is drawn properly, you can identify him on the drawing. Furthermore the visage is not expressing pain or fear but pleasure, which is quite strange because if you look carefully at the new picture, Baek Na-Kyum chose the position where he expressed fear and pain.
That’s what the readers got to witness. However, I believe that the painter wasn’t feeling real pain in fact. He was more scared of his own reactions, feeling pleasure. We shouldn’t underestimate the power of the brainwashing and the criticisms expressed by Jung In-Hun. I interpret that the painter must have felt pleasure but refused to admit it. He chose to act like a whore following the teacher’s words so that he could still deny that he was a homosexual per se. As a prostitute, he had been forced to sex, hence he shouldn’t feel any ecstasy. It was an excuse, a subterfuge for his own conscious. Deep down, a part of him wanted to keep following the scholar’s words. Due to the lord’s action, the painter had a breakthrough and finally dropped the teacher’s doctrine for good. And in my opinion, the painting is reflecting this. 
The smoke of opium in the first drawing reminds us of the poisonous words Min voices in that chamber. Observe that during the scene in Yoon Seungho’s chamber, he keeps talking all the time. He is not even waiting for Yoon Seungho’s answer. There is a reason to this. His words resemble the arrows he used during the hunt.
Because of the connection with the chapter 41, I have the feeling that Min considers the main lead as an easy target, for he views him as a pheasant. In an earlier analysis, I had imagined, the pheasant was Jihwa. And this interpretation was confirmed with the chapter 43 
In both episodes, he used his words to poison the second lead’s heart and mind, so that the latter would suffer so much. Remember after each suggestion, the noble felt so tormented: chapter 51 
. He is so plagued by his existential fear and remorse that he feels like dying. But as you can imagine, due to my previous analyses and the evolution of the story, I would like to add another signification. From my perspective, we should consider Baek Na-Kyum as the pheasant too, for both ukes are mirroring each other. By living next to Yoon Seungho, the painter was slowly metamorphosing. Therefore I come to the conclusion that Baek Na-Kyum was indeed the deer in the first hunt. The scholar’s words were represented by the arrowheads and the lord’s sword symbolized his phallus. 
In other words, the first hunt announced the rape and the painter’s loss of innocence in episode 25 and the lord’s abandonment in chapter 40. 
As you can observe, the chronology of the hunt was not respected. But this interpretation allows us to be able to predict the future season and Black Heart’s personality. Since the two main leads are going through a metamorphosis, it signifies that this phenomenon will occur to Jihwa and Min as well. Since Min believes that the main lead is an easy prey, this signifies that he considers the host as a pheasant too. Moreover, I think that the vicious noble has the impression that he is similar to Yoon Seungho, that’s why he can understand him so well. Therefore he views himself as a pheasant, but in this battle for the painter, he attacks his rival with his beak, similar to the arrow points, unaware of the main lead’s true nature. The latter is a phoenix, based on different essays. This mystical bird embodies fire and passion – the flames of true inspiration. Moreover, it brings good luck, harmony, peace, balance, and prosperity. This signifies that by defying the phoenix, Min’s fate is doomed. His fight against him will bring only misfortune and destruction. Hence Heena’s words 
(chapter 68) seem to be true: Yoon Seungho will ruin misery to his adversaries. But in chapter 52, the noble had not gone through his spiritual death. That’s why the Joker had the upper hand in episode 52 and could hurt the main lead’s heart. As you can observe, I felt this chapter was announcing Min’s chronicle of a death foretold. And this perception was confirmed with chapter 76. His addiction to opium is already destroying The Joker, therefore he vomits and he loses his temper in front of Nameless. 
Observe the contrast with chapter 52, where the vicious noble controlled the situation and cornered Yoon Seungho. Black Heart was calm and vicious, he had the upper hand, whereas the opposite happened in chapter 76. But let’s return our attention to chapter 52. Yoon Seungho was put under pressure, thus the latter avoided Min’s gaze and remained silent, until the main lead gave in: 
(chapter 54). That’s why we could say that chapter 54 was a new version of the rape scene. Yet Min was not able to achieve his goal, for the main lead was confronted with his own reflection and his traumatic past: 
with his words in order to undermine his judgement and as such destroy him. 
(chapter 60). But in order to get rid of Min, Nameless will have to get the support from Yoon Seungho. In other words, the latter could be the one giving the execution order. I would like the readers to keep in mind the protagonist’s words from chapter 11: 
. And the criminal behaved exactly like in chapter 54. He killed Deok-Jae and no one dared to suspect him.
This is important, as it contrasts to Min’s gesture. The lord decided to look up, because he was wounded. He acted, as if he chose to ignore Min’s attacks. This stare at the ceiling was not connected to fun, rather to faked indifference and pain. His heart was wounded and he was trying to hide his vulnerability. At the same time, I also believe that he was also pondering, wondering why the artist came to visit him, although he had never asked for him. From my point of view, Black Heart’s poisonous words created a certain insecurity in him. Let’s not forget that in that scene, Min was describing the artist as a man consumed by lust. Besides, his butler had revealed to him that Baek Na-Kyum had become so easy, as he was now viewing himself as a prostitute. In other words, Yoon Seungho felt insecure and doubted the artist’s innocence. The position of his head symbolized the opposite, deep thinking, while it represented Black Heart’s carelessness and confidence, contrasting to Yoon Seungho’s doubts and mistrust. Min was not noticing his surrounding, as he was too focused on his own pleasure, while Yoon Seungho was looking up on purpose. The host was actually attempting to avoid Min’s arrows hurting him. Min was criticizing the main lead, insinuating that he was a killjoy. If he hadn’t sent away the boy, they could have fun. 
(chapter 66). the nobles would always fight against each other. This explicates why Black Heart had the upper hand in chapter 52 and why the main lead remained passive and silent for a while. He was applying what he had been taught: hide any weakness…. yet in this scene, the lord was definitely in pain. Then the author zoomed on the lord’s mouth, like she often does. 
The reality is that Baek Na-Kyum was already his precious treasure, but he was in denial. He was behaving like the painter in the end. While the latter was raised to deny his sexuality, the aristocrat was taught to deny any affection, a symbol for exposure. He could lose a war. Hence he couldn’t treat the painter like that, since he was a low-born, according to Min. That’s why Black Heart used the idiom “as if”. The arrogant aristocrat was actually reminding his host that he was a noble, he had to maintain dignity. The low-born could only be a toy for fun and nothing more. By having sex with the low-born, he reminded Yoon Seungho of his position and the social norms. Notice how The Joker used social norms to achieve his goal. His true purpose was to taste the painter and Yoon Seungho was able to see through him.
In other words, the protagonist had the impression that he got the upper hand in the end. Black Heart had revealed his own “desire” and as such “exposure”. By giving in, Yoon Seungho was deceiving himself. His mind was telling him that he had found the perfect tool to control Min, while in reality he was playing into Black Heart’s hands. And now, you can understand why Yoon Seungho was infuriated, although he was smiling. 
His fury was already palpable, the moment he stood up so suddenly and opened the door violently, although we didn’t see his body. 
He was definitely telling himself that he was just a ghost and had no heart. 
(Chapter 52) In my opinion, he must be mocking the other noble. He feels that his fellow is just too stupid and naive. Yet Min is actually overlooking an important aspect. There is an explanation why the other aristocrats are calling the protagonist a lunatic. Yoon Seungho is indeed revolutionary as he rejects social hierarchy and as such criticizes nobility with its privileges. During the 18th Century, libertines were fighting for liberty and equity and this is not surprising that the French revolution began 1789. Remember what I told about libertines, sex was just one aspect in their life, they advocate reforms and changes in the tripartite society, in the rigid social hierarchy. That’s what Black Heart is overlooking, whereas the nobles sensed this aspect but were not able to define it. 
His retreat was not a defeat, he was just ignoring their opinion. Yoon Seungho just saw them as nobodies hence he had no reason to fight back for his reputation, since he never valued his notoriety. What Min perceived as a first victory was nothing in Yoon Seungho’s eyes.
(Chapter 33) Here, he was challenging the lord for the first time. Furthermore like I had already underlined before, the lord created this image of hell-raiser as a shield. Thanks to his bad notoriety, he could deceive people and protect himself. Ecstasy was never his goal unlike Min, since Yoon Seungho desired to divert people’s attention. And based on my theory he never took pleasure in sodomy, he rather forced himself to live up to his bad reputation. 
(Chapter 52) No noble imagined that the main lead had an interest in government posts. Admittedly, only the readers know the reason why he is sponsoring Jung In-Hun. It happened because of the painter. However, I detect another manipulation here because of the following picture: 
[chapter 11] The noble has always been honest in front of the painter hence his words outline how powerful the main lead is in reality. He already has connections in the government but he never made it public therefore aristocrats thought, he was indulging himself in lust. While he went to sex orgies, he did pay attention to what was happening at the capital, yet he never showed up there due to his trauma. I would even add that he even influenced the government, but always unofficially and indirectly so that people would never make any connection to him. His power seems to be quite important since he proclaims that he can ruin the teacher’s career. This can be also the explication why he even adjoins that he will never get caught with Jung In-Hun’s murder. 
(chapter 52) But this doesn’t stop here. He even confesses Jihwa’s involvement.
(Chapter 52) The painter gets upset with the kiss but instead of letting his emotions take control of his thoughts, he ponders about the cause of these negative feelings. Why is he upset? 
Observe the lord’s hand is still grabbing the chin and his mouth is literally devouring Black Heart’s mouth. It was as if he was covering up Min’s mouth. He made sure that he would stop talking. Note Min’s expression. He never expected such a gesture, he thought that the lord wouldn’t retaliate like that, he would retreat. On the other hand, the main lead is not happy, he is actually furious. 
(chapter 46) What a difference! Min dared to challenge his host and this time, Yoon Seungho didn’t remain passive or retreat. He accepted the defy. This is what I take away from this scene. 
(Chapter 51) 
(Chapter 51) And now, if we look back at his first appearance, he was indeed recommended by hearsay. Min was the first one mentioning him to Jihwa. So in the following panel, the speech bubble represents Min’s voice. He is the one describing Nameless to Jihwa.
(chapter 50) Strictly speaking, he is a strategist which is visible when he tells Jihwa that he has other channels. 
(chapter 51) They were not wrong with this association, however I feel that in that cabin, there was another channel that Nameless was working on. 
(Chapter 51) If you regard her clothes, you’ll note that her appearance resembles the one belonging to maids. 
(Chapter 51)
(chapter 50) that’s why he ordered him to stay home in the chapter 50 and here asks if he has been drinking. He can perceive people’s personality very well. I would even add that Nameless’ heart must have been touched, when he noticed Jihwa’s bad habit: biting his finger nails. He must have sensed that this noble had still an innocent soul. Striking is that although the red-haired noble is just a wreck and even insults the “criminal”,
(Chapter 51) Even the evil domestic got scared, when he experienced this gaze. 
The latter looked at Jihwa’s mouth and tears, while the commoner allowed the noble to voice his worries and anxiety. His eyes don’t express any disdain or arrogance in the last painting. Here, we could say that Nameless is not cold-hearted, quite the opposite, he is sensitive. Sure, he doesn’t allow the red-haired aristocrat to mistreat him, yet he shows a certain curiosity and concern towards his client. In fact, this reflects the purity of his heart. He senses the noble’s sinlessness which stands so much in opposition to the criminal’s reputation. In this scene, the manhwaphiles can detect another similarity with Yoon Seungho again. The gaze and action reveal more than any word. And here is the next question: why would No-Name be quite nice to Jihwa? 
symbolizes perfectly the main characters’ personality. While Yoon Seungho has still a pure mind (White), his heart has been corrupted due to his tragic past (black) that’s why he keeps hurting the painter over and over again. On the other hand, Nameless has a pure heart, yet he has a corrupted mind due to a traumatic experience. His “vicious” mind could be the reason why he is able to perceive a conspiracy and even plot a crime. He doesn’t lose his temper, when he is threatened.
(Chapter 54) reminded me of Jung In-Hun’s behavior in the first season. He used commoners in order to dig up some secret so that he could blackmail Yoon Seungho.
(Chapter 29) Therefore I have the impression that the commoner is behaving like him, yet this time it is in order to unveil the identity of the mastermind. That way, he could protect Jihwa and at the same time, he would be able to get rid of a heinous person. On the other hand, since Min has become aware that his plot failed because the assassination didn’t take place, Black Heart can only condemn the red-haired aristocrat and Nameless. It is definitely possible that Min chooses to hurt Jihwa as retaliation which can only push the criminal to become very hostile to Min. From my point of view, Nameless will become a great helping hand for Yoon Seungho in the future. With his Black mind, he can even predict what villains will do. The protagonist’s mind is too pure to recognize the viciousness in the scholar. He might have perceived his hypocrisy and stupidity, nonetheless he still doesn’t know what Jung In-Hun afflicted to the painter. From my point of view, this explains why Yoon Seungho couldn’t defeat the scholar so quickly. He was too naive in this aspect. However, the main character needs to have someone with a black mind so that they can anticipate the scholar and father Yoon’s moves.
That’s why Min is now using Jihwa in order to hurt Yoon Seungho as he wants to dethrone the alpha in the sodomite community and become the new king. 
(Chapter 33) This image represents a flashback from the chapter 33, where our protagonist recalled the artist’s terrible face, while he has to hear the other aristocrats describing the person he loved. The memory outlines that this incident left a deep impression on Yoon Seungho that he could still remember the painter’s sick face. Therefore the protagonist wants to keep his painter safe, in the warmest room in the mansion where the noble can attend to the commoner’s needs (giving him water, cleaning his body). I even anticipate he will do everything himself. However, we shouldn’t forget that the master’s deepest wish is to share his own bed with the uke. Only with him, he can finally relax and sleep. We all know that the lord is suffering from insomnia since he hasn’t overcome his trauma from the past.
(Chapter 40) By placing the red dot on the forehead, Yoon Seungho made the painter look like a bride. This wasn’t just a joke, he really wanted to assume his responsibility and become the painter’s “husband”. The rumor circulating now confirms my explanation about his actions. 
(chapter 18) when he felt nothing as the straw mat beating occurred. For him, this was a normality, although I am somehow suspecting that he wasn’t entirely honest. It did affect him because his admired painter had been hurt. Nevertheless, when in the chapter 18, Yoon Seungho felt excited and as such alive due to the breakup with Jihwa, he showed his beastly instincts. And if we recall the whole first season, the manhwaphiles will notice that Seungho showed excitement, when he humiliated the nobles. Let us not forget that he humiliated not only Jihwa, but also his friend (the man with the mole), Jung In-Hun and Min. He revealed his true personality in the woods, where he was the one who killed the deer and the pheasant… therefore I assume that terrible things could/will happen to the nobles in the woods. 
(Chapter 40) This symbolized that there was still a gap between these two men. Now, it is different. Baek Na-Kyum stands next to him so that we can say the painter’s status has been elevated. The artist is also dressed with expensive winter clothes that’s why the social disparity is less visible. Only the hairdressing reveals that Baek Na-Kyum is no lord. However, little by little, the crevice between Yoon Seungho and his loved one is disappearing. Now, we have to wonder why the painter at the end of the trailer turned his head. 
A guided tour of Yoon Seungho’s domain 🏡 (second version) (only accessible with a password) Use the second password 
🎉
Bebebisous33s' analyses in K-Dramaland and Manhwas 