The manhwa world is similar to a reincarnation.
The nerdy trio call it déjà vu, that feeling that a moment has been experienced before, although it’s the first time. One of the nerds says it happens to him often.
But Haru is still unsettled by the vision he had earlier while he and DanOh were washing their hands in the outdoor faucet. He heard the same CLICKing sound that DanOh normally hears to signal the beginning of a Stage.
Note: I mentioned in an earlier review that Kyung doesn’t know when the Stage ends. I think only DanOh hears the clicking sounds before and after Stages. Kyung doesn’t hear the clicking sounds so he doesn’t know exactly when a Stage begins but he can discern the end of a Stage when an illogical thing happens (like a bench suspended in air) or when DanOh suddenly switches off.
Here, Haru hears the CLICK (or the page-flipping sound) and he turns around to see DanOh of a different era wearing sageuk clothes at a stream. The Sageuk DanOh smiles at him, splashes water at him, giggles and splash water again.
But he’s staring at the present-day DanOh who calls him out of his trance, “Haru-ya. Haru-ya.”
Isn’t she incandescent with happiness?
She, too, had just splashed water at him so she pretends to remorseful, “Alright I’ll stop messing around” and tricks him again, “You really thought I would stop, didn’t you?”
She splashes him a second time and giggles, “Hey, you’re completely soaking wet.” In revenge, he scoops up water and lobs it at her, completely drenching her. She gasps and he quickly drapes his shirt (because he’s well-trained after that forest incident) on her, and apologizes. “Sorry.”
She sulks and he holds her hand and begins to apologize, “I’m sorry, I did it because I thought we were messing around—” But she suddenly laughs up at him, “This is the first time I’ve felt this feeling. Because of you, I feel as if I’ve been born again.”
Her words trigger memories of a Sageuk DanOh saying the same exact thing. “This is the first time I’ve felt this feeling. Because of you, I feel as if I’ve been born again. Haru.”
And he doesn’t know what’s going on.
DanOh doesn’t realize how ironic her words are. When she says that she feels “reborn,” she means that she feels happy, energized, and rejuvenated. She’s feeling refreshed after their water play.
But to Haru who’s seeing a vision of a Sageuk DanOh super-imposed on the real DanOh, he’s discovering that she’s replaying a past moment. It’s as if she’s, literally, born again.
It’s more than déjà vu.
He’s remembering his past life, and he’s re-living this moment with her. Meanwhile, she feels reborn because she’s falling in love with him again, just like the previous lifetime.
That is essentially what reincarnation is. It’s a rebirth.
Haru is slowly realizing that there’s a fundamental pattern to their manhwa lives, and although there are variations, their present life is following a cycle. Events from the past are repeating.
Note: The music teacher actually foretold this sequence of events earlier. Just like the math teacher’s Gauss lecture, the music teacher’s lecture on Beethoven is helpful to our understanding of the direction of this kdrama.
The music teacher said, “This piece is Beethoven’s Variations in F Major, opus 34. Let me tell you how variations work. They add their own style to the songs of the past generation and end up creating various musical expressions. They don’t limit themselves to the conventional styles of music. By doing that, they are looking for the joy of music.”
Now, because we’re smart and curious bitches here, here’s the music if you want to listen to it.
But if you want a lighter introduction to variations, I recommend you listen to this Mozart’s composition called, “Ah, vous dirais-je, Maman.” This used to be my sons’ bedtime music. By the time they went to school, they recognized that this is the same melody as “Twinkle, Twinkle, Little Star,” “Baa Baa, Black Sheep” and the “ABC song.”
But I digress…
The point of the music teacher is that life should be lived like a variation. Sure, there’s a cyclical nature to our existence. We seem to be merely repeating mistakes and our failures are inevitable.
But we should still strive to create our expression of our individuality. To live joyfully, we shouldn’t be constrained by human conventions; just like Beethoven (and Mozart) weren’t limited by musical conventions.
That’s what DanOh and Haru’s impromptu date was all about. They skipped school and created a story of their own — their secret story — that is distinct and separate from the writer’s recycled manhwas.
DoHwa already said that all manhwa plots are the same. He said, “There’s a female lead, male lead, and a male second lead.”
The bell rang as he was describing manhwa conventions to Kyung in the A3 room. He stood up to go to class but Kyung decided to stay behind.
And that’s how Haru and DanOh ended up skipping the same music class. Kyung decided to stay behind from class, and Haru stepped in to take Kyung’s spot.
DanOh: It’s not fun, right? Let’s skip class.
Haru: Skip?
DanOh: (raising her hand to call the teacher): Can I go the nurse’s office?
Music Teacher: DanOh, are you really not feeling well somewhere? Where’s Baek Kyung?
Classmate: BK isn’t here yet. (lol! Haru found his chance!!)
Haru: Teacher!
Teacher: Yes?
Haru: I’ll take her. (Haru found his chance.)
Teacher: You??
To everybody’s amazement, he grabbed DanOh’s hand, and they ran away.
Thus, Haru and DanOh broke the conventional style of the manhwa world. The plot remains always the same, according to DoHwa. But they found a way to find their joy of living.
That’s why DanOh is happy as they return to the school. The water play seems like a perfect way to end this brief interlude. She feels “born again.”
It’s only Haru who realizes that something’s amiss, and suspects that even this “escape” from the manhwa world may have been written already in another lifetime.
To me, the Squid fairy actually favors Haru over Kyung, but his hands are tied. He’s the only one with the awareness that everything is a reincarnation. He believes that ignorance is the kindest gift to Haru and DanOh who are bound to repeat the same tragedy.
Think of them as Romeo and Juliet. That book is on the bookshelf, right? lol. But please notice that there’s a question mark after “Romeo” (to tease us viewers that the identity of Romeo is still undecided) and the word, “and” (again to tease us that whether the couple will end together or not is still undecided).
The quandary of the Squid guy: if no one can rewrite the stars, if nothing that Romeo and Juliet (aka Haru and DanOh) can do will avert their tragic ending, then isn’t it better for two star-crossed lovers not to know their fate?
To me, the Squid guy is questioning his decision to withhold the truth from Haru when he talks to him at the arbor.
Squid: If I didn’t want your memories to return…would I have been too much of a bad guy?
He wants to spare them the suffering of knowing their doom. But Haru doesn’t press him, like Kyung would do.
Haru: There must be something I shouldn’t remember. In my memories, I remember this flower. I thought it was a dream, but it wasn’t a dream. Is it an event that will happen? Or has it happened already?
Note: DanOh can only see the future. But Haru can also see the past which becomes their future.
Squid: It’s the reason I couldn’t give you an answer about your beginning. Your beginning isn’t a secret from here.
What he really means is that his real story has long been a secret. Even in the other manhwa, “Flower,” his origins had been unknown.
Haru: Is that why I remembered Eun DanOh? You said that the meaning of the Chinese trumpet vine was “waiting”, right? I think I know why I kept seeing this flower. So I could remember Eun Dan Oh. To wait until DanOh could find me.
The Squid guy returns to the library and contemplates Haru’s questions, “Is it an event that will happen? Or has it happened already?” And, in solitude, he answers the question truthfully.
Squid: It happened already but would happen again. Because the writer uses the same character over and over again. And even the lines in the story are the same. It’s harder to not become self-aware. Even if I burned the book, I couldn’t prevent some things from happening.
That’s true. When DoHwa remembers to anticipate the next scenes and when the other classmates sense déjà vu, they’re actually gaining awareness that things are happening on a repeat cycle. In the context of the manhwa, the writer is simply recycling stories because the conventions of the manhwa must be followed.
However, in context of life-and-death musings, this is reincarnation. The soul repeats endless cycle of birth, unconsciousness/consciousness, suffering, and death. They can’t escape it unless there’s a breakthrough or an enlightenment.
Squid: (continuing) Once everybody finds out about the story, I might have to witness that tragedy again. (addressing writer) I’m happy I’m able to appear in many works. But you’re very cruel. If it’s going to be like this, take away my self-awareness as well.
In this sense, the Squid guy is a pathetic fellow, too. He sees the endless pattern but is powerless to stop the tragedy.
Note: there’s a difference between how Haru and Kyung talk to the Squid guy. Haru treats the Squid guy with civility. He isn’t submissive; he respectfully informs the Squid guy of his decisions. On the other hand, Kyung comes off as rude, confrontational and threatening. In Episode 8, he drops by the kitchen and waits for the Squid guy with his feet on the table.
He insolently asks the Squid guy how he should call him? By his name, Jin michae (or dried squid fairy)? Or should he call him “Hyung” like Lee Dohwa does?
And the Squid guy responds with a fake smile, “That’s definitely not something I want you to call me by.” His fake smile shows how his true feelings. To be related to Kyung would be detestable.
To me, if Haru and DanOh are going to be Romeo and Juliet here, then Kyung is the antagonist…just like his set-up in this manhwa.
Remember this?
I find it rather amusing that the defenders of Kyung ignore that a) he’s grouped with the bullies in the manhwa, and b) he’s like the female version of Sae Mi.
There’s a direct parallelism between him and Saemi. Remember that cafeteria scene? Saemi angrily complaining that Jooda stole NamJa from her. She has first dibs on Namja since they’ve been friends since elementary school (just like Kyung and DanOh). She and Namja even shared a kiss in a play.
Saemi: Did he attach a GPS tracker on her what? I’m the only bad guy, I am.
KY: You have no choice since your role is to be the antagonist, Shin Sae Mi.
DanOh: (scolding Kyung) Yah!
Saemi: Antagonist?
KY: Yeah.
Saemi: I am? Is there an antagonist that gets his place stolen from him? (And she storms off.)
DanOh: There’s no need to tell her that.
KY: No, I do. You have to tell them their role so they know their place. Haroo…remembers everything now.
DanOh: I’m relieved. I was really worried about him.
KY: Is this the real EDO? Are you happy that HR returned? I have no way of knowing. You keep switching it up on me, the real and fake EDOs.
DanOh: This is definitely the real EDO. He disappeared and came back for me.
KY: Is that it?
DanOh: What?
KY: Is that really it?
Haru: (coming in with his lunch tray): DanOh, is the seat next to you free?
KY: Why are you sitting over here?
DanOh: BK, why are you being like this?
KY: I told you! If you don’t tell them they won’t know that they’re crossing the line.
Haru: How am I crossing the line?
KY: The fact that you’re sitting in front of me is crossing the line. Think of your setup.
See? He’s like Saemi here. He wants Haru out of the picture because he thinks Haru is a usurper. He wants to claim DanOh because he knows her first, since childhood days, and he’s her fiancé.
Haru: Those don’t matter to me…things like that.
KY: You. I’ll be watching to see if you can say those words in the next stage. (then he walks off, too, like Saemi)
DanOh: He was doing alright for some time now. Why did he suddenly go back into jerk mode? Really.
Haru: Don’t worry about it. Let’s eat.
DanOh: Mani bogo.
Haru: You too.
Although Haru treats Saemi as DanOh’s friend, I think, subconsciously, Haru recognizes that she’s an antagonist. That’s why he blinks at her when he sees her.
And made her wear the watch, lol, so Kyung came to rescue her instead of DanOh.
*****
I’ll have to continue this later because I’ve a busy day tomorrow. Will discuss the Kyung’s brother, the date and the tennis match.
“ Isn’t she incandescent with happiness?”
❤️. That she is. I love how she just radiates warmth or sadness or whatever emotion DO is feeling. You don’t have to “Guess” (like I had to with GSY). She encapsulated every teenage girl in that date with HR, the heart stopping moments, the coquettish side glances, the wide eyed wonder. She’s delightful.
Kudos for linking it to reincarnation. I am not familiar with that trope (I just have a very rudimentary understanding of it) but I know it’s one that’s recycled in kdramas a lot. And it does fit. 🙂.
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Well the reincarnation trope is really evident to me, but what I love is that you linked it up with books. These characters have a history that could go back to Romeo and Juliet. Juliet does call Romeo her “day” in the middle of the night (so the name Haru), and Romeo in turn calls her his “sun” (and note how Haru is always staring at sunlight or Dan Oh in the sunlight). I
I just took a close up look at those books for the first time today. I know the synopsis of Turandot and I’ve written essays on Merchant. I don’t know how they might apply but both involve a “love test”, where the hero is tested three times with riddles, or must pick the right casket of three, in order to win the girl. Failure to answer correctly means death. So a hero that will risk everything including his life to win the girl? Or three times, three books/lives is the charm? Perhaps there’s another significant theme I don’t know about because of unfamiliarity with the opera.
But Turandot is interesting because of the joint Chinese/Italian production. I want to see that documentary after googling it.
That’s interesting about the number 3. BK mentions it in TF where if you meet by chance 3 times, it means you’re destined to be together. The funny thing is both his “chance” meetings with DO were pre-arranged. In contrast, I think DO and HR had 3 chance encounters. 😂
Yes! I was going to mention Turandot but didn’t have time. And I haven’t seen Eps 11 and 12 (and their back story) so I don’t yet know if it truly applies to Haru. I’m guessing it’s Haru.
Famous aria from Turandot is “Nessun Dorma.” Pavarotti’s version is iconic.
No, the guessing the haughty princess’ three riddles wasn’t the major point of the opera. 🙂 The nameless prince (ha! nameless like Haru) solved them easily. So Turandot must marry the nameless prince.
But the prince counter-challenged her. Guessing his name was the challenge the nameless prince gave Turandot. She had to solve it. She had till daybreak to find out the answer.
And the “Nessun Dorma” (with that “Vincero!Vincerooooo!”) would play because the nameless prince wanted to win.
Long story short: Turandot said that the nameless prince’s name was…. 😂 Love.
Kinda like Haru. We really don’t know his real name, do we? She named him “Day” but what his real name was we don’t know.
😍
But Turandot was cold though unlike DanOh.
And don’t forget in Romeo and Juliet, Juliet was also engaged to Paris. Paris is like Kyung, a family friend. Paris kept asking for her hand in marriage but she thought she was too young, like DanOh. Later on when they met, she was already married to Romeo (he was clueless —unlike Kyung) and his touch repulsed her.
I can’t find a major connection with Merchant of Venice. Perhaps Shylock is Kyung’s father?
Re: Merchant of Venice. I am wondering if it’s about mercy. Shylock has the legal right to demand his pound of flesh but chooses NOT to let it go. There were offers of payment of double the amount etc but he refused. He was not merciful. The writer has bound DO to BK (for 10 years) and he has rightful claim of her. Despite all the pleas of DO and HR, BK has thus far opted NOT to free DO from her shackles to him. Will he be like Shylock? Or will he be the better man and let her go?
But remember, the only reason Shylock did NOT get his pound of flesh was because Portia pointed out that he could only get a POUND of *flesh*. No DROP of blood was allowed to be shed because a drop of blood wasn’t included in the contract. 😂
Shylock was outwitted by Portia who used legalese.
Yes, the love test is small in Merchant as well, but I can’t see its significance to EY unless we get a court case at the end! Romeo’s themes are strong in EY, as are Pride and Prejudice’s, but nothing from Merchant is shouting at me, so I wondered about the love test as it is common to both Merchant and Turandot.
But maybe I’m on the wrong track relating Dan Oh and Haru to Merchant. They’ve already got Trumpet Flower and Romeo? And? The tragedies. Neither Merchant nor Turandot are tragedies so the Juda, Namjoo, Dohwa triangle might have them as their reincarnated from books! This is interesting, actually. I can vaguely see connections already. Danger, Barbrey!
What about the book “Home Story”? Have you ever heard of a novel called “Home Story”?
I’ve never heard of it. If it were a classic of the western canon or even a more modern bestseller, I would know of it. My assumption is that it’s a book on interior design, which writers often use for descriptive purposes.
By the way, I don’t think I explained my idea on this mini library within the library. This is the writer’s cache of reference books s/he used to write the manwhas. But they are planted in the middle of the manwha world, thereby illuminating that world’s genesis for those who might discover them, and read them despite Squid’s warning. For me, the books in the library can thus be compared to God planting the forbidden trees of Life and Knowledge in the middle of the Garden of Eden. The other thing that lives in this library Garden is Haru himself, and Squid frequents it as both tempter and protector. The allegory holds strong, except that Haru and Squid’s roles are somewhat confused owing to the scriptwriter merging their story lines. But both Jesus and Lucifer were rebels, Jesus against the established temple religion and Lucifer against obedience to God.
I’m non-religious, btw, so see this as literary allegory, not necessarily religious allegory. Literary Lucifer from Paradise Lost is a literary hero of mine, not to be confused with an actual Satan from religious belief. I was once on an educational game show and I answered all the biblical questions, much to the dismay of my team mate, a minister’s son, but it’s just from reading. The themes are age old.
Hi again.
Here I missed the meaning of the teacher’s lesson, when he talks about Beethoven’s variations.
Not completely. In the moment, I thought what he was saying made sense with the story.
But I didn’t have time to really think about it, and I quickly forgot with the change of scene.
The writing of this drama is precise, and few elements are useless.
I don’t know how the screenwriter achieves this, but I guess she has to proceed through several phases of writing/rewriting. Make sure to exploit every moment to feed the overall meaning of the story.
That’s a lot of work!
It reminded me of a scene in my drama.
For about ten seconds, a program is on the radio, and you hear it in low volume voiceover.
I was wondering what the content of the show should be.
I didn’t have a clear idea, because it was just an unimportant detail.
But I could have used the same process as here, which is to place content that makes sense in relation to the story. It’s something I’ve used elsewhere, but where it was more obvious.
Here, on the other hand, I wasn’t aware of that at all. Or maybe I lacked concentration.
Instead, I took the opportunity to make an remark about music in Korea. It was more of an amusing reflection that I had had personally than a story element, so.
I still ask myself this question: is there a content related to the story?
One thing I’ve observed is that even something apparently improvised intuitively manages to have a correlation with the story. It’s almost magical.
However, it’s far from professional. For the scene in question, I reread it and corrected several things. But these are not corrections to the substantive content of the scene. It’s something I rarely do because it’s terribly long to do. More than that, on a very large number of scenes (my drama is about 22 hours long), it’s difficult to detect the ones that should be improved. I have a stock of scenes that leave me unsatisfied and that I’ve been able to detect, without knowing how to improve them. And there is certainly another stock where I was unable to detect that it could be improved. Like this radio passage, for example.
I just went to check the CVs of the writers of the drama.
And this is the first drama written by the writer.
And yet, she’s already got lots of experience!