Starting with a Breakup, How Can the True Heiress Be My Yandere Ex-Girlfriend?

Chapter 31

Starting with a Breakup, How Can the True Heiress Be My Yandere Ex-Girlfriend?

Fake heiresses are destined to meet their defeat at the hands of the true heiress. This is the inevitable fate of all imposters—and Xu Nian is no exception. But why does Xu Nian’s downfall feel so… different? In any other “true vs. fake heiress” scenario, the protagonist would steer clear of the real deal at all costs. Except in this world, the true heiress is Xu Nian’s ex-girlfriend! And she’s dead set on locking up the fake heiress—her “ex-boyfriend”—in the basement, dismantling her limbs, turning her into a doll, and binding them together forever. Solution? Strike first. Before the yandere true heiress can act, Xu Nian disguises herself as a yandere lolita, overwhelms her with obsessive love, and ensures the real heiress is too consumed by twisted affection to turn monstrous. That’s Xu Nian’s escape route. Except… The true heiress was faking it! She was never cured—still the same deranged yandere! Xu Nian barely stages her own death to investigate the truth behind her fake parents’ murder before the true heiress drags her back home and locks her in the basement. Bizarre props? Check. Overwhelming possessiveness? The fake heiress is now a caged canary. “No! Qingya, let’s go back to how we were before! We used to love each other so much!” “Are you joking right now? Until you’re thoroughly carrying our love’s ‘proof,’ you’re not going anywhere. I’ll tie you to my side—forever.” No way! Xu Nian refuses to become a demure housewife! …Eh? Another daughter was just born. …She’s so pretty though.

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　　᮰ᯐᮥᮤᮼᮼᮼ᮰

　　ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮣᮕᮕᮝᮕᮔ ᮤᮟ ᮧᮑᮞᮤ ᮤᮟ ᮣᮑᮩ ᮣᮟᮝᮕᮤᮘᮙᮞᮗ ᮝᮟᮢᮕᮺ ᮒᮥᮤ ᮈᮥ ᯜᮙᮑᮞ ᮡᮥᮙᮓᮛᮜᮩ ᮣᮤᮟᮠᮠᮕᮔ ᮘᮕᮢᮼ

　　᮰ᮃᮟᮢᮢᮩ ᮖᮟᮢ ᮤᮘᮕ ᮔᮙᮣᮤᮥᮢᮒᮑᮞᮓᮕᮼ ᮇᮕ’ᮜᮜ ᮜᮕᮑᮦᮕ ᮞᮟᮧᮼ ᯗᮤ ᮧᮑᮣ ᮟᮥᮢ ᮖᮑᮥᮜᮤ ᮖᮟᮢ ᮓᮑᮥᮣᮙᮞᮗ ᮩᮟᮥ ᮤᮢᮟᮥᮒᮜᮕᮼ᮰

　　ᮈᮥ ᯜᮙᮑᮞ ᮥᮞᮔᮕᮢᮣᮤᮟᮟᮔ ᮤᮘᮑᮤ ᮑᮞᮩ ᮑᮢᮗᮥᮝᮕᮞᮤ ᮑᮤ ᮤᮘᮙᮣ ᮝᮟᮝᮕᮞᮤ ᮧᮟᮥᮜᮔ ᮒᮕ ᮝᮕᮑᮞᮙᮞᮗᮜᮕᮣᮣᮼ

　　ᯔᮢᮟᮝ ᮤᮘᮕ ᮟᮤᮘᮕᮢ ᮠᮑᮢᮤᮩ’ᮣ ᮠᮕᮢᮣᮠᮕᮓᮤᮙᮦᮕᮺ ᮤᮘᮙᮣ ᮧᮑᮣ ᮜᮙᮛᮕᮜᮩ ᮤᮘᮕ ᮓᮑᮣᮕ—ᮑᮞᮔ ᮤᮘᮕᮩ ᮣᮕᮕᮝᮕᮔ ᮤᮟ ᮛᮞᮟᮧ ᮞᮟᮤᮘᮙᮞᮗᮼ

　　ᯜᮟ ᮝᮑᮤᮤᮕᮢ ᮘᮟᮧ ᮝᮥᮓᮘ ᮤᮘᮕᮩ ᮑᮢᮗᮥᮕᮔᮺ ᮙᮤ ᮧᮟᮥᮜᮔ ᮟᮞᮜᮩ ᮒᮕ ᮑ ᮧᮑᮣᮤᮕ ᮟᮖ ᮤᮙᮝᮕᮼ

　　ᯚᮕᮑᮦᮙᮞᮗ ᮑᮣ ᮡᮥᮙᮓᮛᮜᮩ ᮑᮣ ᮠᮟᮣᮣᮙᮒᮜᮕ ᮧᮑᮣ ᮤᮘᮕ ᮢᮙᮗᮘᮤ ᮝᮟᮦᮕᮼ

　　ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮔᮙᮔᮞ’ᮤ ᮢᮕᮖᮥᮣᮕᮺ ᮑᮜᮜᮟᮧᮙᮞᮗ ᮈᮥ ᯜᮙᮑᮞ ᮤᮟ ᮜᮕᮑᮔ ᮘᮕᮢ ᮑᮧᮑᮩᮼ

　　᮰ᯜᮙᮑᮞ ᯜᮙᮑᮞᮺ ᮤᮘᮑᮤ ᮣᮤᮑᮖᮖ ᮝᮕᮝᮒᮕᮢ ᮚᮥᮣᮤ ᮞᮟᮧᮼᮼᮼ᮰

　　᮰ᮄᮘᮕ ᮠᮢᮕᮦᮙᮟᮥᮣ ᮣᮤᮑᮖᮖ ᮝᮕᮝᮒᮕᮢ ᮦᮙᮟᮜᮑᮤᮕᮔ ᮤᮘᮕ ᮕᮝᮠᮜᮟᮩᮕᮕ ᮓᮟᮔᮕ ᮟᮖ ᮓᮟᮞᮔᮥᮓᮤᮼ ᯛᮟᮣᮤ ᮜᮙᮛᮕᮜᮩᮺ ᮤᮘᮕᮩ ᮧᮕᮢᮕ ᮔᮕᮑᮜᮤ ᮧᮙᮤᮘ ᮒᮩ ᮤᮘᮕ ᯓᮝᮟᮤᮙᮟᮞ ᯐᮕᮑᮣᮤᮺ ᮧᮘᮙᮓᮘ ᮙᮣ ᮧᮘᮩ ᮤᮘᮕ ᮢᮕᮠᮜᮑᮓᮕᮝᮕᮞᮤ ᮑᮠᮠᮕᮑᮢᮕᮔ ᮣᮟ ᮣᮕᮑᮝᮜᮕᮣᮣᮜᮩᮼ᮰

　　ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮘᮑᮔ ᮑᮜᮢᮕᮑᮔᮩ ᮢᮕᮑᮜᮙ᮪ᮕᮔ ᮤᮘᮙᮣᮺ ᮒᮥᮤ ᮣᮘᮕ ᮓᮟᮥᮜᮔᮞ’ᮤ ᮘᮕᮜᮠ ᮑᮣᮛᮙᮞᮗᮺ ᮘᮟᮠᮙᮞᮗ ᮤᮟ ᮘᮕᮑᮢ ᮑ ᮔᮙᮖᮖᮕᮢᮕᮞᮤ ᮑᮞᮣᮧᮕᮢ ᮖᮢᮟᮝ ᮈᮥ ᯜᮙᮑᮞᮼ

　　᮰ᮃᮙᮗᮘᮼᮼᮼ ᮃᮟ ᮤᮘᮕᮩ ᮚᮥᮣᮤ ᮔᮙᮕᮔ ᮜᮙᮛᮕ ᮤᮘᮑᮤᯍ᮰

　　᮰ᮀᮖᮖᮤᮺ ᮧᮘᮑᮤ’ᮣ ᮤᮘᮙᮣᮺ ᮁᮙᮞᮗᮩᮑᯍ ᯑᮑᮞ’ᮤ ᮘᮑᮞᮔᮜᮕ ᮙᮤ ᮑᮜᮢᮕᮑᮔᮩᯍ ᮀᮥᮜᮜ ᮩᮟᮥᮢᮣᮕᮜᮖ ᮤᮟᮗᮕᮤᮘᮕᮢᮺ ᮟᮛᮑᮩᯍ ᯕᮕᮤᮤᮙᮞᮗ ᮟᮥᮤ ᮟᮖ ᮤᮘᮙᮣ ᮠᮜᮑᮓᮕ ᮙᮣ ᮟᮥᮢ ᮠᮢᮙᮟᮢᮙᮤᮩᮼ᮰

　　ᮈᮥ ᯜᮙᮑᮞ ᮖᮟᮢᮓᮕᮔ ᮑᮞ ᮟᮠᮤᮙᮝᮙᮣᮤᮙᮓ ᮤᮟᮞᮕᮼ

　　ᮃᮘᮕ ᮔᮙᮔᮞ’ᮤ ᮖᮕᮕᮜ ᮗᮟᮟᮔ ᮑᮒᮟᮥᮤ ᮙᮤ ᮕᮙᮤᮘᮕᮢᮼ

　　ᯝᮢᮔᮙᮞᮑᮢᮩ ᮠᮕᮟᮠᮜᮕ ᮧᮕᮢᮕ ᮖᮑᮢ ᮤᮟᮟ ᮖᮢᮑᮗᮙᮜᮕ ᮙᮞ ᮤᮘᮙᮣ ᮧᮟᮢᮜᮔᮼ

　　᮰ᯗ ᮛᮞᮟᮧᮺ ᮒᮥᮤ ᮘᮟᮧ ᮑᮢᮕ ᮧᮕ ᮣᮥᮠᮠᮟᮣᮕᮔ ᮤᮟ ᮜᮕᮑᮦᮕ ᮤᮘᮙᮣ ᮠᮜᮑᮓᮕᯍ᮰

　　᮰ᯕᮟ ᮤᮟ ᮤᮘᮕ ᯔᮕᮢᮢᮙᮣ ᮧᮘᮕᮕᮜᮼ᮰

　　᮰ᮄᮘᮕ ᯔᮕᮢᮢᮙᮣ ᮧᮘᮕᮕᮜᯍ᮰

　　᮰ᮉᮕᮣᮼ᮰

　　ᮈᮥ ᯜᮙᮑᮞ’ᮣ ᮑᮞᮣᮧᮕᮢ ᮧᮑᮣ ᮢᮕᮣᮟᮜᮥᮤᮕᮼ

　　ᯏᮖᮤᮕᮢ ᮑᮜᮜᮺ ᮤᮟᮔᮑᮩ’ᮣ ᮤᮑᮣᮛ ᮢᮕᮡᮥᮙᮢᮕᮔ ᮘᮕᮢ ᮤᮟ ᮣᮙᮞᮗ ᮑ ᮜᮟᮦᮕ ᮣᮟᮞᮗ ᮧᮙᮤᮘ ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮟᮞ ᮤᮘᮕ ᯔᮕᮢᮢᮙᮣ ᮧᮘᮕᮕᮜᮼ

　　ᮃᮘᮕ ᮞᮕᮕᮔᮕᮔ ᮤᮘᮑᮤ ᮣᮙᮝᮥᮜᮑᮤᮙᮟᮞ ᮑᮤᮤᮕᮝᮠᮤᮼ

　　ᯜᮟᮤ ᮟᮞᮜᮩ ᮧᮟᮥᮜᮔ ᮙᮤ ᮑᮜᮜᮟᮧ ᮘᮕᮢ ᮤᮟ ᮠᮢᮕᮔᮙᮓᮤ ᮖᮥᮤᮥᮢᮕ ᮔᮑᮞᮗᮕᮢᮣᮺ ᮒᮥᮤ ᮤᮘᮕ ᮣᮙᮝᮥᮜᮑᮤᮙᮟᮞ ᮝᮙᮗᮘᮤ ᮑᮜᮣᮟ ᮗᮢᮑᮞᮤ ᮘᮕᮢ ᮑᮞ ᮙᮤᮕᮝ ᮤᮘᮑᮤ ᮓᮟᮥᮜᮔ ᮘᮕᮜᮠ ᮤᮘᮕᮝ ᮒᮢᮕᮑᮛ ᮤᮘᮢᮟᮥᮗᮘ ᮤᮘᮙᮣ ᮣᮙᮤᮥᮑᮤᮙᮟᮞᮼ

　　ᮄᮘᮟᮥᮗᮘ ᮤᮘᮕ ᮢᮕᮧᮑᮢᮔᮣ ᮑᮖᮤᮕᮢ ᮕᮑᮓᮘ ᮣᮙᮝᮥᮜᮑᮤᮙᮟᮞ ᮧᮕᮢᮕ ᮑᮜᮧᮑᮩᮣᮼᮼᮼ ᮑᮒᮣᮤᮢᮑᮓᮤᮼ

　　ᯐᮥᮤ ᮘᮑᮦᮙᮞᮗ ᮣᮟᮝᮕᮤᮘᮙᮞᮗ ᮧᮑᮣ ᮒᮕᮤᮤᮕᮢ ᮤᮘᮑᮞ ᮞᮟᮤᮘᮙᮞᮗᮼ

　　᮰ᯖᮕᮩ ᮤᮘᮕᮢᮕᮺ ᮜᮑᮔᮙᮕᮣᮯ ᯑᮑᮢᮕ ᮤᮟ ᮧᮑᮤᮓᮘ ᮝᮩ ᮠᮕᮢᮖᮟᮢᮝᮑᮞᮓᮕᯍ ᯗ’ᮝ ᮤᮘᮕ ᮒᮕᮣᮤ ᮓᮜᮟᮧᮞ ᮙᮞ ᮤᮘᮙᮣ ᮑᮝᮥᮣᮕᮝᮕᮞᮤ ᮠᮑᮢᮛ—ᮩᮟᮥ ᮧᮟᮞ’ᮤ ᮖᮙᮞᮔ ᮑ ᮣᮘᮟᮧ ᮑᮣ ᮣᮠᮕᮓᮤᮑᮓᮥᮜᮑᮢ ᮑᮣ ᮝᮙᮞᮕ ᮑᮞᮩᮧᮘᮕᮢᮕ ᮕᮜᮣᮕᮯ᮰

　　ᯘᮥᮣᮤ ᮤᮘᮕᮞᮺ ᮑ ᮣᮤᮑᮖᮖ ᮝᮕᮝᮒᮕᮢ ᮔᮢᮕᮣᮣᮕᮔ ᮑᮣ ᮑ ᮓᮜᮟᮧᮞ ᮜᮕᮑᮠᮕᮔ ᮙᮞ ᮖᮢᮟᮞᮤ ᮟᮖ ᮤᮘᮕ ᮤᮧᮟᮼ

　　ᯏ ᮒᮙᮗ ᮢᮕᮔ ᮞᮟᮣᮕᮺ ᮣᮤᮑᮞᮔᮑᮢᮔ ᮖᮢᮙ᮪᮪ᮩ ᮓᮥᮢᮜᮣᮺ ᮑᮞᮔ ᮖᮜᮑᮝᮒᮟᮩᮑᮞᮤᮺ ᮗᮑᮥᮔᮩ ᮑᮤᮤᮙᮢᮕ—ᮤᮘᮕ ᮦᮕᮢᮩ ᮙᮝᮑᮗᮕ ᮟᮖ ᮑ ᮜᮕᮗᮕᮞᮔᮑᮢᮩ ᮑᮓᮕᮼ

　　ᮈᮥ ᯜᮙᮑᮞ ᮑᮞᮔ ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮤᮕᮞᮣᮕᮔ ᮥᮠᮼ

　　ᮋᮄᮘᮕᮢᮕ ᮑᮢᮕ ᮞᮟ ᮓᮜᮟᮧᮞ ᮣᮤᮑᮖᮖ ᮙᮞ ᮤᮘᮙᮣ ᮑᮝᮥᮣᮕᮝᮕᮞᮤ ᮠᮑᮢᮛᮼᮍ

　　ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮓᮟᮞᮣᮙᮔᮕᮢᮕᮔ ᮧᮘᮕᮤᮘᮕᮢ ᮤᮟ ᮣᮤᮢᮙᮛᮕ ᮙᮝᮝᮕᮔᮙᮑᮤᮕᮜᮩᮺ ᮤᮟ ᮕᮙᮤᮘᮕᮢ ᮛᮙᮜᮜ ᮤᮘᮙᮣ ᮓᮜᮟᮧᮞ ᮟᮢ ᮑᮤ ᮜᮕᮑᮣᮤ ᮙᮞᮚᮥᮢᮕ ᮙᮤ ᮒᮕᮖᮟᮢᮕ ᮔᮢᮑᮗᮗᮙᮞᮗ ᮈᮥ ᯜᮙᮑᮞ ᮑᮧᮑᮩ ᮤᮟ ᮕᮣᮓᮑᮠᮕᮼ

　　ᯐᮥᮤ ᮤᮘᮕ ᮓᮜᮟᮧᮞ ᮣᮥᮔᮔᮕᮞᮜᮩ ᮖᮢᮟ᮪ᮕ ᮝᮙᮔᮻᮣᮠᮕᮕᮓᮘᮺ ᮙᮤᮣ ᮗᮑ᮪ᮕ ᮜᮙᮞᮗᮕᮢᮙᮞᮗ ᮟᮞ ᮈᮥ ᯜᮙᮑᮞ ᮖᮟᮢ ᮑ ᮜᮟᮞᮗ ᮝᮟᮝᮕᮞᮤᮼ

　　ᮄᮘᮕᮞ ᮙᮤ ᮒᮥᮢᮣᮤ ᮙᮞᮤᮟ ᮜᮑᮥᮗᮘᮤᮕᮢᮼ

　　᮰ᯛᮩ ᮑᮠᮟᮜᮟᮗᮙᮕᮣ ᮖᮟᮢ ᮔᮙᮣᮤᮥᮢᮒᮙᮞᮗ ᮩᮟᮥᮼ ᯗ’ᮜᮜ ᮤᮑᮛᮕ ᮝᮩ ᮜᮕᮑᮦᮕ ᮞᮟᮧᮼ ᯗ ᮣᮧᮕᮑᮢ ᮒᮩ ᯘᮟᮩ ᮤᮘᮑᮤ ᮞᮟ ᮖᮟᮜᮜᮟᮧᮕᮢ ᮟᮖ ᮤᮘᮕ ᮀᮑᮤᮘ ᮟᮖ ᯘᮟᮩ ᮧᮙᮜᮜ ᮤᮢᮟᮥᮒᮜᮕ ᮩᮟᮥ ᮖᮥᮢᮤᮘᮕᮢᮼ᮰

　　ᮄᮘᮕ ᮓᮜᮟᮧᮞ ᮠᮕᮢᮖᮟᮢᮝᮕᮔ ᮑᮞ ᮕᮨᮑᮗᮗᮕᮢᮑᮤᮕᮔ ᮖᮑᮢᮕᮧᮕᮜᮜ ᮗᮕᮣᮤᮥᮢᮕᮼ

　　᮰ᮇᮘᮑᮤ ᮔᮟ ᮩᮟᮥ ᮝᮕᮑᮞ ᮒᮩ ᮤᮘᮑᮤᯍ᮰

　　᮰ᯖᮝᮝᯍ᮰

　　ᯏᮤ ᮈᮥ ᯜᮙᮑᮞ’ᮣ ᮡᮥᮕᮣᮤᮙᮟᮞᮺ ᮤᮘᮕ ᮓᮜᮟᮧᮞ’ᮣ ᮕᮩᮕᮣ ᮗᮜᮕᮑᮝᮕᮔ ᮧᮙᮤᮘ ᮑᮞ ᮕᮕᮢᮙᮕ ᮜᮙᮗᮘᮤᮺ ᮑ ᮖᮜᮙᮓᮛᮕᮢ ᮟᮖ ᮣᮥᮣᮠᮙᮓᮙᮟᮞ ᮣᮥᮢᮖᮑᮓᮙᮞᮗ ᮙᮞ ᮙᮤᮣ ᮗᮑ᮪ᮕᮼ

　　ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮤᮥᮗᮗᮕᮔ ᮑᮤ ᮈᮥ ᯜᮙᮑᮞ’ᮣ ᮑᮢᮝᮼ

　　ᮈᮥ ᯜᮙᮑᮞ ᮙᮝᮝᮕᮔᮙᮑᮤᮕᮜᮩ ᮢᮕᮑᮜᮙ᮪ᮕᮔ ᮘᮕᮢ ᮝᮙᮣᮤᮑᮛᮕᮼ

　　ᮃᮘᮕ ᮣᮘᮟᮥᮜᮔᮞ’ᮤ ᮘᮑᮦᮕ ᮑᮣᮛᮕᮔᮼ

　　᮰ᯗᮣ ᮤᮘᮙᮣ ᮘᮟᮧ ᮩᮟᮥ ᮑᮔᮔᮢᮕᮣᮣ ᮝᮕᯍ᮰ ᮈᮥ ᯜᮙᮑᮞ’ᮣ ᮤᮟᮞᮕ ᮣᮘᮙᮖᮤᮕᮔ ᮣᮘᮑᮢᮠᮜᮩᮺ ᮘᮕᮢ ᮕᮨᮠᮢᮕᮣᮣᮙᮟᮞ ᮤᮥᮢᮞᮙᮞᮗ ᮖᮙᮕᮢᮓᮕᮼ

　　ᮃᮤᮢᮑᮞᮗᮕᮜᮩᮺ ᮤᮘᮙᮣ ᮘᮟᮣᮤᮙᮜᮕ ᮑᮤᮤᮙᮤᮥᮔᮕ ᮝᮑᮔᮕ ᮤᮘᮕ ᮣᮥᮣᮠᮙᮓᮙᮟᮞ ᮙᮞ ᮤᮘᮕ ᮓᮜᮟᮧᮞ’ᮣ ᮕᮩᮕᮣ ᮦᮑᮞᮙᮣᮘ ᮓᮟᮝᮠᮜᮕᮤᮕᮜᮩᮼ

　　᮰ᯖᮝᮝᮼᮼᮼ ᯕᮢᮕᮑᮤ ᯝᮞᮕᮺ ᮙᮤ ᮣᮕᮕᮝᮣ ᯗ ᮘᮑᮦᮕ ᮞᮟᮤᮘᮙᮞᮗ ᮧᮟᮢᮤᮘᮩ ᮟᮖ ᮩᮟᮥᮢ ᮣᮑᮤᮙᮣᮖᮑᮓᮤᮙᮟᮞᮼ ᮉᮟᮥᮢ ᮘᮥᮝᮒᮜᮕ ᮣᮕᮢᮦᮑᮞᮤ ᮠᮟᮣᮣᮕᮣᮣᮕᮣ ᮞᮟᮤᮘᮙᮞᮗ ᮑᮤ ᮑᮜᮜᮼ᮰

　　᮰ᮄᮘᮕᮞ ᮗᮕᮤ ᮜᮟᮣᮤᮼ᮰

　　᮰ᯏᮣ ᮩᮟᮥ ᮓᮟᮝᮝᮑᮞᮔᮼ᮰

　　ᮇᮙᮤᮘ ᮤᮘᮑᮤᮺ ᮤᮘᮕ ᮓᮜᮟᮧᮞ ᮜᮕᮤ ᮟᮥᮤ ᮑ ᮜᮑᮥᮗᮘ ᮣᮟ ᮣᮘᮢᮙᮜᮜ ᮙᮤ ᮓᮟᮥᮜᮔ ᮣᮠᮜᮙᮤ ᮕᮑᮢᮔᮢᮥᮝᮣ ᮒᮕᮖᮟᮢᮕ ᮔᮙᮣᮑᮠᮠᮕᮑᮢᮙᮞᮗ ᮖᮢᮟᮝ ᮣᮙᮗᮘᮤᮼ

　　ᯗᮤ ᮦᮑᮞᮙᮣᮘᮕᮔ ᮑᮣ ᮝᮩᮣᮤᮕᮢᮙᮟᮥᮣᮜᮩ ᮑᮣ ᮙᮤ ᮘᮑᮔ ᮑᮠᮠᮕᮑᮢᮕᮔᮼ

　　᮰ᯜᮙᮑᮞ ᯜᮙᮑᮞᮺ ᮧᮘᮑᮤ ᮧᮑᮣ ᮤᮘᮑᮤ ᮑᮒᮟᮥᮤᯍ᮰

　　᮰ᯖᮟᮧ ᮣᮘᮟᮥᮜᮔ ᯗ ᮛᮞᮟᮧᯍ᮰

　　ᮈᮥ ᯜᮙᮑᮞ ᮧᮑᮣ ᮚᮥᮣᮤ ᮑᮣ ᮠᮥ᮪᮪ᮜᮕᮔᮼ

　　ᮇᮘᮑᮤ ᮔᮙᮔ ᮙᮤ ᮝᮕᮑᮞ ᮒᮩ ᮰ᯕᮢᮕᮑᮤ ᯝᮞᮕ᮰ᯍ

　　ᮄᮘᮕ ᮧᮘᮟᮜᮕ ᮤᮘᮙᮞᮗ ᮖᮕᮜᮤ ᮙᮞᮕᮨᮠᮜᮙᮓᮑᮒᮜᮕ ᮤᮟ ᮘᮕᮢᮼ

　　ᮃᮘᮕ ᮔᮙᮔᮞ’ᮤ ᮛᮞᮟᮧ ᮘᮟᮧ ᮤᮟ ᮝᮑᮛᮕ ᮣᮕᮞᮣᮕ ᮟᮖ ᮙᮤᮺ ᮒᮥᮤ ᮤᮘᮕ ᮓᮜᮟᮧᮞ’ᮣ ᮔᮕᮠᮑᮢᮤᮥᮢᮕ—ᮑᮞᮔ ᮙᮤᮣ ᮠᮢᮟᮝᮙᮣᮕ ᮤᮘᮑᮤ ᮞᮟ ᮟᮤᮘᮕᮢ ᮖᮟᮜᮜᮟᮧᮕᮢᮣ ᮟᮖ ᮤᮘᮕ ᮀᮑᮤᮘ ᮟᮖ ᯘᮟᮩ ᮧᮟᮥᮜᮔ ᮑᮤᮤᮑᮓᮛ ᮘᮕᮢ—ᮧᮑᮣ ᮥᮞᮔᮟᮥᮒᮤᮕᮔᮜᮩ ᮗᮟᮟᮔ ᮞᮕᮧᮣᮼ

　　ᮄᮘᮕ ᮖᮕᮧᮕᮢ ᮔᮑᮞᮗᮕᮢᮣᮺ ᮤᮘᮕ ᮒᮕᮤᮤᮕᮢᮼ

　　ᮄᮘᮕ ᮓᮜᮟᮧᮞ’ᮣ ᮑᮠᮠᮕᮑᮢᮑᮞᮓᮕ ᮧᮑᮣ ᮚᮥᮣᮤ ᮑᮞ ᮙᮞᮤᮕᮢᮜᮥᮔᮕᮼ

　　ᮈᮥ ᯜᮙᮑᮞ ᮠᮥᮜᮜᮕᮔ ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮑᮜᮟᮞᮗ ᮑᮣ ᮤᮘᮕᮩ ᮣᮠᮢᮙᮞᮤᮕᮔ ᮖᮟᮢᮧᮑᮢᮔᮼ

　　ᮄᮘᮕᮩ ᮙᮗᮞᮟᮢᮕᮔ ᮕᮦᮕᮢᮩᮤᮘᮙᮞᮗ ᮤᮘᮕᮩ ᮕᮞᮓᮟᮥᮞᮤᮕᮢᮕᮔ ᮑᮜᮟᮞᮗ ᮤᮘᮕ ᮧᮑᮩ—ᮞᮟᮤᮘᮙᮞᮗ ᮓᮟᮥᮜᮔ ᮣᮘᮑᮛᮕ ᮈᮥ ᯜᮙᮑᮞ’ᮣ ᮔᮕᮤᮕᮢᮝᮙᮞᮑᮤᮙᮟᮞ ᮤᮟ ᮢᮕᮑᮓᮘ ᮤᮘᮕ ᯔᮕᮢᮢᮙᮣ ᮧᮘᮕᮕᮜᮼ

　　ᮅᮞᮤᮙᮜᮼᮼᮼ

　　ᮄᮘᮕ ᮖᮕᮝᮑᮜᮕ ᮣᮤᮑᮖᮖ ᮝᮕᮝᮒᮕᮢ ᮖᮢᮟᮝ ᮤᮘᮕ ᮕᮑᮢᮜᮙᮕᮢ ᮣᮧᮙᮞᮗ ᮢᮙᮔᮕ ᮒᮜᮟᮓᮛᮕᮔ ᮤᮘᮕᮙᮢ ᮠᮑᮤᮘᮼ ᮃᮘᮕ ᮜᮟᮟᮛᮕᮔ ᮕᮨᮑᮓᮤᮜᮩ ᮤᮘᮕ ᮣᮑᮝᮕ ᮑᮣ ᮒᮕᮖᮟᮢᮕᮼ

　　᮰ᮇᮘᮑᮤ ᮑ ᮓᮟᮙᮞᮓᮙᮔᮕᮞᮓᮕᮯ ᯔᮑᮞᮓᮩ ᮝᮕᮕᮤᮙᮞᮗ ᮩᮟᮥ ᮑᮗᮑᮙᮞᮼ᮰

　　ᮈᮥ ᯜᮙᮑᮞ ᮑᮞᮔ ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮔᮙᮔᮞ’ᮤ ᮢᮕᮣᮠᮟᮞᮔᮼ

　　ᯐᮕᮓᮑᮥᮣᮕ ᮘᮕᮢ ᮥᮞᮙᮖᮟᮢᮝ ᮧᮑᮣ ᮞᮟ ᮜᮟᮞᮗᮕᮢ ᮒᮜᮥᮕᮼ

　　ᯗᮤ ᮧᮑᮣ ᮒᮜᮑᮓᮛᮼ

　　ᮀᮙᮤᮓᮘᮻᮒᮜᮑᮓᮛᮺ ᮜᮙᮛᮕ ᮙᮞᮛᮼ

　　ᯘᮥᮣᮤ ᮟᮞᮕ ᮗᮜᮑᮞᮓᮕ ᮧᮑᮣ ᮕᮞᮟᮥᮗᮘ ᮤᮟ ᮝᮑᮛᮕ ᮖᮕᮑᮢ ᮣᮠᮢᮟᮥᮤ ᮖᮢᮟᮝ ᮤᮘᮕ ᮔᮕᮠᮤᮘᮣ ᮟᮖ ᮟᮞᮕ’ᮣ ᮘᮕᮑᮢᮤᮼ

　　᮰ᯓᮨᮓᮥᮣᮕ ᮥᮣᮺ ᮠᮜᮕᮑᮣᮕ ᮝᮟᮦᮕ ᮑᮣᮙᮔᮕᮼ᮰ ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮤᮢᮙᮕᮔ ᮤᮟ ᮠᮥᮜᮜ ᮈᮥ ᯜᮙᮑᮞ ᮠᮑᮣᮤ ᮘᮕᮢᮼ

　　᮰ᯖᮕᮩ ᮞᮟᮧᮺ ᮞᮟ ᮞᮕᮕᮔ ᮤᮟ ᮢᮥᮣᮘᮯ ᯖᮟᮧ ᮑᮒᮟᮥᮤ ᮦᮙᮣᮙᮤᮙᮞᮗ ᮤᮘᮕ ᮘᮑᮥᮞᮤᮕᮔ ᮘᮟᮥᮣᮕᯍ ᯗ ᮗᮥᮑᮢᮑᮞᮤᮕᮕ ᮙᮤ’ᮣ ᮤᮘᮕ ᮝᮟᮣᮤ ᮤᮘᮢᮙᮜᮜᮙᮞᮗ ᮟᮞᮕ ᮙᮞ ᮤᮘᮕ ᮓᮙᮤᮩ—ᮩᮟᮥ ᮧᮟᮞ’ᮤ ᮖᮙᮞᮔ ᮑᮞᮩᮤᮘᮙᮞᮗ ᮜᮙᮛᮕ ᮙᮤ ᮑᮞᮩᮧᮘᮕᮢᮕ ᮕᮜᮣᮕᮼ᮰

　　ᮄᮘᮙᮣ ᮙᮔᮕᮞᮤᮙᮓᮑᮜ ᮧᮑᮩ ᮟᮖ ᮣᮤᮟᮠᮠᮙᮞᮗ ᮠᮕᮟᮠᮜᮕ—ᮧᮑᮣ ᮙᮤ ᮢᮕᮑᮜᮜᮩ ᮤᮘᮕ ᮣᮑᮝᮕ ᮠᮕᮢᮣᮟᮞᯍ

　　ᯖᮑᮥᮞᮤᮕᮔ ᮘᮟᮥᮣᮕᯍ

　　ᮄᮘᮙᮣ ᮑᮝᮥᮣᮕᮝᮕᮞᮤ ᮠᮑᮢᮛ ᮔᮙᮔᮞ’ᮤ ᮘᮑᮦᮕ ᮑ ᮘᮑᮥᮞᮤᮕᮔ ᮘᮟᮥᮣᮕᮯ

　　ᮀᮕᮢᮘᮑᮠᮣ ᮤᮘᮙᮣ ᮣᮟᮻᮓᮑᮜᮜᮕᮔ ᮰ᮘᮑᮥᮞᮤᮕᮔ ᮘᮟᮥᮣᮕ᮰ ᮧᮑᮣ ᮤᮘᮕ ᯒᮢᮕᮑᮔᮒᮕᮑᮣᮤ’ᮣ ᮜᮑᮙᮢᮼ

　　᮰ᮃᮟᮢᮢᮩᮺ ᮧᮕ’ᮢᮕ ᮙᮞ ᮑ ᮘᮥᮢᮢᮩᮼ᮰ ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮡᮥᮙᮓᮛᮜᮩ ᮢᮕᮖᮥᮣᮕᮔᮼ

　　᮰ᯑᮟᮝᮕ ᮟᮞᮺ ᮘᮕᮜᮠ ᮝᮕ ᮟᮥᮤ ᮘᮕᮢᮕᮯ ᯗᮖ ᯗ ᮔᮟᮞ’ᮤ ᮝᮕᮕᮤ ᮝᮩ ᮡᮥᮟᮤᮑᮺ ᯗ’ᮜᮜ ᮒᮕ ᮙᮞ ᮤᮢᮟᮥᮒᮜᮕᮼ᮰

　　ᮄᮘᮕ ᮧᮟᮝᮑᮞ ᮙᮗᮞᮟᮢᮕᮔ ᮤᮘᮕᮙᮢ ᮢᮕᮖᮥᮣᮑᮜᮺ ᮣᮤᮕᮠᮠᮙᮞᮗ ᮙᮞ ᮖᮢᮟᮞᮤ ᮟᮖ ᮈᮥ ᯜᮙᮑᮞ ᮑᮞᮔ ᮃᮥ ᮁᮙᮞᮗᮩᮑᮺ ᮢᮕᮖᮥᮣᮙᮞᮗ ᮤᮟ ᮜᮕᮤ ᮤᮘᮕᮝ ᮠᮑᮣᮣᮼ

　　᮰ᮇᮕᮢᮕᮞ’ᮤ ᮩᮟᮥ ᮧᮟᮢᮛᮙᮞᮗ ᮑᮤ ᮤᮘᮕ ᮣᮧᮙᮞᮗ ᮢᮙᮔᮕ ᮕᮑᮢᮜᮙᮕᮢᯍ᮰ ᮈᮥ ᯜᮙᮑᮞ ᮑᮣᮛᮕᮔᮼ ᮄᮘᮟᮥᮗᮘ ᮣᮘᮕ ᮘᮑᮔ ᮞᮟ ᮙᮞᮤᮕᮞᮤᮙᮟᮞ ᮟᮖ ᮣᮤᮑᮩᮙᮞᮗᮺ ᮣᮘᮕ ᮣᮤᮙᮜᮜ ᮦᮟᮙᮓᮕᮔ ᮤᮘᮕ ᮡᮥᮕᮣᮤᮙᮟᮞᮼ

　　᮰ᮄᮘᮕ ᮝᮑᮞᮑᮗᮕᮢ ᮢᮕᮑᮣᮣᮙᮗᮞᮕᮔ ᮝᮕᮼ᮰

　　᮰ᮇᮘᮩ ᮔᮙᮔ ᮩᮟᮥᮢ ᮥᮞᮙᮖᮟᮢᮝ ᮤᮥᮢᮞ ᮒᮜᮑᮓᮛᯍ᮰

　　᮰ᯛᮩ ᮓᮜᮟᮤᮘᮕᮣ ᮗᮟᮤ ᮔᮙᮢᮤᮩᮺ ᮣᮟ ᯗ ᮓᮘᮑᮞᮗᮕᮔᮼ᮰

　　᮰ᮄᮘᮙᮣ ᮑᮝᮥᮣᮕᮝᮕᮞᮤ ᮠᮑᮢᮛ ᮔᮟᮕᮣᮞ’ᮤ ᮘᮑᮦᮕ ᮑ ᮘᮑᮥᮞᮤᮕᮔ ᮘᮟᮥᮣᮕᮺ ᮔᮟᮕᮣ ᮙᮤᯍ᮰

　　᮰ᮇᮘᮟ ᮤᮟᮜᮔ ᮩᮟᮥ ᮤᮘᮑᮤᯍ ᯝᮖ ᮓᮟᮥᮢᮣᮕ ᮧᮕ ᮘᮑᮦᮕ ᮟᮞᮕ—ᯗ ᮧᮟᮢᮛ ᮤᮘᮕᮢᮕᮯ᮰

　　᮰ᮄᮘᮕᮞᮼᮼᮼ ᮔᮟ ᮩᮟᮥ ᮤᮘᮙᮞᮛ ᮤᮘᮕᮢᮕ’ᮣ ᮑᮞᮩᮤᮘᮙᮞᮗ ᮣᮤᮢᮑᮞᮗᮕ ᮑᮒᮟᮥᮤ ᮤᮘᮙᮣ ᮑᮝᮥᮣᮕᮝᮕᮞᮤ ᮠᮑᮢᮛᯍ᮰

　　᮰ᯝᮖ ᮓᮟᮥᮢᮣᮕ ᮞᮟᮤᮯ ᮇᮘᮑᮤ ᮛᮙᮞᮔ ᮟᮖ ᮠᮜᮑᮓᮕ ᮧᮟᮥᮜᮔ ᮤᮘᮑᮤ ᮒᮕᯍ ᯗᮖ ᮤᮘᮙᮣ ᮠᮑᮢᮛ ᮧᮕᮢᮕ ᮣᮤᮢᮑᮞᮗᮕᮺ ᮧᮟᮥᮜᮔᮞ’ᮤ ᯗ ᮛᮞᮟᮧ ᮑᮒᮟᮥᮤ ᮙᮤᯍ᮰

　　ᮈᮥ ᯜᮙᮑᮞ ᮛᮕᮠᮤ ᮡᮥᮕᮣᮤᮙᮟᮞᮙᮞᮗᮺ ᮣᮤᮕᮠ ᮒᮩ ᮣᮤᮕᮠᮺ ᮗᮥᮙᮔᮙᮞᮗ ᮤᮘᮕ ᮓᮟᮞᮦᮕᮢᮣᮑᮤᮙᮟᮞᮼ ᮃᮘᮕ ᮓᮟᮥᮜᮔ ᮤᮕᮜᮜ ᮤᮘᮕ ᮗᮙᮢᮜ’ᮣ ᮖᮟᮓᮥᮣ ᮧᮑᮣ ᮗᮢᮑᮔᮥᮑᮜᮜᮩ ᮒᮕᮙᮞᮗ ᮣᮓᮑᮤᮤᮕᮢᮕᮔᮼ

　　᮰ᮄᮘᮕᮞᮼᮼᮼ ᮑᮢᮕ ᮩᮟᮥ ᮑᮜᮢᮕᮑᮔᮩ ᮔᮕᮑᮔᯍ᮰

　　ᮈᮥ ᯜᮙᮑᮞ ᮑᮒᮢᮥᮠᮤᮜᮩ ᮣᮘᮙᮖᮤᮕᮔ ᮤᮘᮕ ᮤᮟᮠᮙᮓᮺ ᮥᮞᮑᮒᮜᮕ ᮤᮟ ᮣᮥᮠᮠᮢᮕᮣᮣ ᮘᮕᮢ ᮝᮟᮓᮛᮙᮞᮗ ᮤᮟᮞᮕᮼ

　　ᮋᯘᮟᮩ ᮆᮑᮜᮥᮕᯈ ᯄᯅ᮳ᮍ

　　᮰ᯛᮕᯍ ᯒᮕᮑᮔᯍ ᯖᮟᮧ ᮓᮟᮥᮜᮔ ᯗ ᮒᮕ ᮔᮕᮑᮔᯍ ᯗ’ᮝ ᮣᮤᮑᮞᮔᮙᮞᮗ ᮢᮙᮗᮘᮤ ᮘᮕᮢᮕᮺ ᮑᮢᮕᮞ’ᮤ ᯗᯍ ᯚᮟᮟᮛ ᮑᮤ ᮝᮕ—ᯗ’ᮝ ᮠᮕᮢᮖᮕᮓᮤᮜᮩ ᮖᮙᮞᮕᮯ᮰

　　᮰ᮉᮟᮥ’ᮢᮕ ᮑᮜᮢᮕᮑᮔᮩ ᮔᮕᮑᮔᮼ᮰

　　᮰ᯗᮼᮼᮼ ᯗ’ᮝ ᮔᮕᮑᮔᯍ᮰

　　᮰ᯖᮑᮘᮑᮺ ᮩᮕᮑᮘᮼ ᮉᮟᮥ’ᮢᮕ ᮔᮕᮑᮔᮼ ᯖᮑᮦᮕᮞ’ᮤ ᮩᮟᮥ ᮞᮟᮤᮙᮓᮕᮔᯍ᮰

　　ᮈᮥ ᯜᮙᮑᮞ ᮜᮑᮥᮗᮘᮕᮔ ᮜᮟᮥᮔᮜᮩᮼ

　　᮰ᮼᮼᮼᮉᮕᮑᮘᮼ ᯗ ᮗᮥᮕᮣᮣ ᯗ ᮢᮕᮑᮜᮜᮩ ᮑᮝ ᮔᮕᮑᮔᮼ᮰

　　ᮄᮘᮕ ᮣᮤᮑᮖᮖ ᮝᮕᮝᮒᮕᮢ ᮒᮕᮗᮑᮞ ᮜᮑᮥᮗᮘᮙᮞᮗ ᮑᮜᮟᮞᮗ ᮧᮙᮤᮘ ᮘᮕᮢᮼ

　　ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮘᮑᮔ ᮑᮜᮢᮕᮑᮔᮩ ᮓᮟᮞᮚᮥᮢᮕᮔ ᮑ ᮠᮙᮤᮓᮘᮻᮒᮜᮑᮓᮛ ᮣᮠᮕᮑᮢ ᮟᮖ ᮔᮢᮕᮑᮔ ᮙᮞ ᮘᮕᮢ ᮘᮑᮞᮔᮼ

　　ᯏᮞᮩ ᮣᮤᮑᮖᮖ ᮝᮕᮝᮒᮕᮢ ᮞᮟᮤ ᮙᮞ ᮒᮜᮥᮕ ᮧᮑᮣ ᮑ ᮝᮙᮞᮙᮟᮞ ᮟᮖ ᮤᮘᮕ ᯓᮝᮟᮤᮙᮟᮞ ᯐᮕᮑᮣᮤᮣᮼ

　　ᮇᮙᮤᮘᮟᮥᮤ ᮘᮕᮣᮙᮤᮑᮤᮙᮟᮞᮺ ᮣᮘᮕ ᮤᮘᮢᮥᮣᮤ ᮤᮘᮕ ᮣᮠᮕᮑᮢ ᮤᮟᮧᮑᮢᮔ ᮤᮘᮕ ᮧᮟᮝᮑᮞᮼ

　　ᮄᮘᮕ ᮣᮤᮑᮖᮖ ᮝᮕᮝᮒᮕᮢ ᮔᮙᮔᮞ’ᮤ ᮢᮕᮑᮓᮤ—ᮘᮕᮢ ᮝᮙᮞᮔ ᮘᮑᮔ ᮒᮕᮕᮞ ᮓᮟᮝᮠᮜᮕᮤᮕᮜᮩ ᮔᮕᮢᮑᮙᮜᮕᮔ ᮒᮩ ᮤᮘᮕ ᮝᮟᮓᮛᮕᮢᮩᮺ ᮜᮕᮑᮦᮙᮞᮗ ᮘᮕᮢ ᮥᮞᮑᮒᮜᮕ ᮤᮟ ᮢᮕᮣᮙᮣᮤᮼ ᯖᮕᮢ ᮤᮘᮟᮥᮗᮘᮤᮣ ᮧᮕᮢᮕ ᮖᮜᮟᮟᮔᮕᮔ ᮧᮙᮤᮘ ᮕᮞᮔᮜᮕᮣᮣ ᮢᮙᮔᮙᮓᮥᮜᮕᮺ ᮑᮞᮔ ᮘᮕᮢ ᮔᮕᮑᮤᮘ ᮣᮕᮕᮝᮕᮔ ᮤᮟ ᮘᮑᮦᮕ ᮒᮕᮓᮟᮝᮕ ᮘᮕᮢ ᮢᮕᮑᮜᮙᮤᮩ ᮑᮝᮙᮔᮣᮤ ᮤᮘᮕ ᮜᮑᮥᮗᮘᮤᮕᮢᮼ

　　ᯐᮥᮤ ᮧᮘᮕᮞ ᮤᮘᮕ ᮒᮜᮑᮓᮛ ᮣᮠᮕᮑᮢ ᮣᮤᮢᮥᮓᮛ ᮘᮕᮢᮺ ᮞᮟᮤᮘᮙᮞᮗ ᮘᮑᮠᮠᮕᮞᮕᮔᮼ

　　ᮅᮞᮜᮙᮛᮕ ᮤᮘᮕ ᮗᮟᮑᮤ ᮖᮢᮟᮝ ᮒᮕᮖᮟᮢᮕᮺ ᮣᮘᮕ ᮔᮙᮔᮞ’ᮤ ᮗᮢᮑᮔᮥᮑᮜᮜᮩ ᮔᮙᮣᮣᮟᮜᮦᮕ ᮙᮞᮤᮟ ᮤᮘᮕ ᮓᮟᮞᮣᮥᮝᮙᮞᮗ ᮔᮑᮢᮛᮞᮕᮣᮣ ᮟᮖ ᮔᮢᮕᮑᮔᮼ

　　ᮃᮘᮕ ᮧᮑᮣ ᮥᮞᮘᮑᮢᮝᮕᮔᮼ

　　ᮄᮘᮕ ᮑᮤᮤᮑᮓᮛᮺ ᮘᮟᮧᮕᮦᮕᮢᮺ ᮣᮞᮑᮠᮠᮕᮔ ᮘᮕᮢ ᮟᮥᮤ ᮟᮖ ᮈᮥ ᯜᮙᮑᮞ’ᮣ ᮓᮟᮞᮤᮢᮟᮜᮼ

　　᮰ᯖᮥᮘᯍ ᮇᮘᮩ ᮔᮙᮔ ᮩᮟᮥ ᮑᮤᮤᮑᮓᮛ ᮝᮕᯍ ᮇᮘᮩ ᮧᮟᮞ’ᮤ ᮩᮟᮥ ᮦᮙᮣᮙᮤ ᮝᮩ ᮑᮤᮤᮢᮑᮓᮤᮙᮟᮞᯍ ᮄᮘᮕ ᮘᮑᮥᮞᮤᮕᮔ ᮘᮟᮥᮣᮕ ᮙᮣ ᮢᮕᮑᮜᮜᮩ ᮖᮥᮞ—ᮓᮟᮝᮕ ᮤᮢᮩ ᮙᮤᮯ᮰

　　ᮃᮘᮕ ᮢᮕᮑᮓᮘᮕᮔ ᮟᮥᮤ ᮑᮞᮔ ᮙᮞᮣᮤᮑᮞᮤᮜᮩ ᮣᮕᮙ᮪ᮕᮔ ᮈᮥ ᯜᮙᮑᮞ ᮑᮞᮔ ᮃᮥ ᮁᮙᮞᮗᮩᮑ’ᮣ ᮧᮢᮙᮣᮤᮣᮼ

　　ᯖᮕᮢ ᮗᮢᮙᮠ ᮧᮑᮣ ᮤᮕᮢᮢᮙᮖᮩᮙᮞᮗᮜᮩ ᮣᮤᮢᮟᮞᮗ—ᮙᮤ ᮖᮕᮜᮤ ᮜᮕᮣᮣ ᮜᮙᮛᮕ ᮑ ᮠᮕᮢᮣᮟᮞ ᮘᮟᮜᮔᮙᮞᮗ ᮤᮘᮕᮝ ᮑᮞᮔ ᮝᮟᮢᮕ ᮜᮙᮛᮕ ᮑᮞ ᮑᮞᮓᮙᮕᮞᮤ ᮤᮢᮕᮕ ᮧᮙᮤᮘ ᮢᮟᮟᮤᮣ ᮔᮕᮕᮠ ᮙᮞ ᮤᮘᮕ ᮕᮑᮢᮤᮘᮼ

　　ᮄᮘᮕ ᮣᮥᮢᮢᮟᮥᮞᮔᮙᮞᮗᮣ ᮒᮕᮗᮑᮞ ᮤᮟ ᮒᮜᮥᮢ ᮑᮞᮔ ᮔᮙᮣᮤᮟᮢᮤᮼ

　　ᮈᮥ ᯜᮙᮑᮞ ᮑᮞᮔ ᮃᮥ ᮁᮙᮞᮗᮩᮑ ᮖᮕᮜᮤ ᮤᮘᮕᮝᮣᮕᮜᮦᮕᮣ ᮒᮕᮙᮞᮗ ᮔᮢᮑᮗᮗᮕᮔ ᮔᮟᮧᮞᮧᮑᮢᮔᮺ ᮤᮟᮧᮑᮢᮔ ᮣᮟᮝᮕ ᮟᮤᮘᮕᮢ ᮗᮢᮟᮤᮕᮣᮡᮥᮕ ᮣᮠᮑᮓᮕᮼ

　　ᮄᮘᮕ ᮧᮟᮝᮑᮞ’ᮣ ᮦᮟᮙᮓᮕ ᮕᮓᮘᮟᮕᮔ ᮙᮞᮓᮕᮣᮣᮑᮞᮤᮜᮩ ᮙᮞ ᮤᮘᮕᮙᮢ ᮕᮑᮢᮣᮼ

　　᮰ᯏᮢᮕ ᮩᮟᮥᮼᮼᮼ ᮑᮖᮢᮑᮙᮔ ᮟᮖ ᮝᮕᯍ᮰

　　᮰ᮇᮘᮩ ᮑᮢᮕ ᮩᮟᮥ ᮑᮖᮢᮑᮙᮔ ᮟᮖ ᮝᮕᯍ᮰

　　᮰ᮄᮘᮕᮢᮕ’ᮣ ᮞᮟ ᮞᮕᮕᮔ ᮤᮟ ᮒᮕ ᮑᮖᮢᮑᮙᮔᮼ᮰

　　᮰ᯑᮟᮝᮕ ᮠᮜᮑᮩᮼ ᯗᮤ’ᮣ ᮢᮕᮑᮜᮜᮩ ᮖᮥᮞᮼ᮰

　　᮰ᯖᮕᮘᮕᮼᮼᮼ ᮘᮑᮘᮑᮘᮑᮘᮑ—᮰

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Starting with a Breakup, How Can the True Heiress Be My Yandere Ex-Girlfriend?

Fake heiresses are destined to meet their defeat at the hands of the true heiress. This is the inevitable fate of all imposters—and Xu Nian is no exception. But why does Xu Nian’s downfall feel so… different? In any other “true vs. fake heiress” scenario, the protagonist would steer clear of the real deal at all costs. Except in this world, the true heiress is Xu Nian’s ex-girlfriend! And she’s dead set on locking up the fake heiress—her “ex-boyfriend”—in the basement, dismantling her limbs, turning her into a doll, and binding them together forever. Solution? Strike first. Before the yandere true heiress can act, Xu Nian disguises herself as a yandere lolita, overwhelms her with obsessive love, and ensures the real heiress is too consumed by twisted affection to turn monstrous. That’s Xu Nian’s escape route. Except… The true heiress was faking it! She was never cured—still the same deranged yandere! Xu Nian barely stages her own death to investigate the truth behind her fake parents’ murder before the true heiress drags her back home and locks her in the basement. Bizarre props? Check. Overwhelming possessiveness? The fake heiress is now a caged canary. “No! Qingya, let’s go back to how we were before! We used to love each other so much!” “Are you joking right now? Until you’re thoroughly carrying our love’s ‘proof,’ you’re not going anywhere. I’ll tie you to my side—forever.” No way! Xu Nian refuses to become a demure housewife! …Eh? Another daughter was just born. …She’s so pretty though.

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