Tales of the Taisho Era Flowers Bloom Late

Chapter 111

Tales of the Taisho Era Flowers Bloom Late

It’s the Taisho era. Noble families who inherited supernatural powers and divine gifts secretly maintain their influence in the shadows, alongside the government. Shino Hanamori, the eldest daughter of the Hanamori family, was born into a prestigious family and descended from Princess Sakuya, but she was scorned as a girl without supernatural powers and lived her life without any recognition of her value by her family or society. Her younger sister, Kasumi, is already engaged to be married to a prestigious family, and the family’s only pride is in her future. Shino spends her days quietly gazing at flowers in the corner of the house. But one spring evening. Sakuya Kuromine, the young head of the Kuromine family, the pinnacle of supernatural power families, appears before Shino. The moment the man, rumored to be ruthless and merciless, set eyes on Shino, he said with one look. “It’s you.” “A late-blooming flower, worthy to be my wife.” The truth about Shino soon becomes clear. She is not without supernatural powers; she simply possesses the powers of a divine flower—a direct descendant of Princess Sakuya—that have yet to blossom. The girl abandoned by the Hanamori family actually possesses the most powerful power in the family’s history. However, her awakening reacts to Sakuya’s raging flames, beginning to shake the balance of the divine family line. Meanwhile, Shidou Kouga, the fiancé of Shino’s younger sister, Kasumi, and descendant of Tsukigitsune, also senses that Shino’s awakening has shaken the shadows, bringing the era of the gods to an end. When the flower of supernatural powers blooms late, the fate of the world begins to change. Bound by divinity and blood, can a girl choose to live a life as a human, not a flower? And what destiny will Shino find in the hand Sakuya holds out to her? This is a Taisho era romance fantasy in which the future is carved out not by strength or lineage, but by the love and lifestyle one chooses for oneself.

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ᯚᮙᮜᮜᮙᮑᮞ ᮖᮟᮥᮞᮔ ᮤᮘᮕ ᮓᮥᮢᮢᮕᮞᮤ ᮣᮙᮤᮥᮑᮤᮙᮟᮞ ᮒᮕᮧᮙᮜᮔᮕᮢᮙᮞᮗᮺ ᮑᮞᮔ ᮔᮕᮕᮠᮜᮩ ᮔᮙᮣᮠᮜᮕᮑᮣᮙᮞᮗᮼ

ᮃᮘᮕ ᮛᮞᮕᮧ ᮤᮘᮑᮤ ᮙᮤ ᮘᮑᮔ ᮒᮕᮕᮞ ᯚᮑᮔᮩ ᮆᮙᮦᮙᮑᮞᮑ᮵ᮣ ᮤᮥᮢᮞ ᮤᮟ ᮟᮦᮕᮢᮣᮕᮕ ᮄᮙᮞᮑ ᮜᮑᮣᮤ ᮞᮙᮗᮘᮤᮼ ᯏᮞᮔ ᮣᮘᮕ ᮛᮞᮕᮧ ᮤᮘᮑᮤ ᯚᮑᮔᮩ ᮆᮙᮦᮙᮑᮞᮑ ᮘᮑᮔ ᮤᮑᮛᮕᮞ ᮄᮙᮞᮑ ᮟᮥᮤ ᮤᮟ ᮤᮘᮕ ᮙᮝᮠᮕᮢᮙᮑᮜ ᮓᮑᮠᮙᮤᮑᮜᮼ

ᮃᮘᮕ ᮘᮑᮔᮞ᮵ᮤ ᮗᮙᮦᮕᮞ ᮙᮤ ᮝᮥᮓᮘ ᮤᮘᮟᮥᮗᮘᮤᮼ ᮇᮘᮑᮤᮕᮦᮕᮢ ᮆᮙᮦᮙᮑᮞᮑ ᮝᮙᮗᮘᮤ ᮤᮢᮩ ᮤᮟ ᮔᮟᮺ ᮣᮘᮕ ᮧᮑᮣᮺ ᮑᮖᮤᮕᮢ ᮑᮜᮜᮺ ᮣᮟᮝᮕᮟᮞᮕ ᮧᮘᮟ ᮘᮑᮔ ᮑᮜᮢᮕᮑᮔᮩ ᮖᮑᮙᮜᮕᮔ ᮟᮞᮓᮕᮼ

ᮃᮘᮕ ᮧᮑᮣ ᮤᮘᮕ ᮟᮞᮕ ᮧᮘᮟ ᮘᮑᮔ ᮔᮢᮙᮦᮕᮞ ᮄᮙᮞᮑ ᮤᮟ ᮤᮘᮕ ᮒᮢᮙᮞᮛ ᮟᮖ ᮣᮥᮙᮓᮙᮔᮕᮼ ᯚᮙᮜᮜᮙᮑᮞ ᮘᮑᮔ ᮤᮘᮟᮥᮗᮘᮤ ᮙᮤ ᮙᮝᮠᮟᮣᮣᮙᮒᮜᮕ ᮖᮟᮢ ᮤᮘᮕ ᮔᮙᮖᮖᮙᮓᮥᮜᮤ ᮄᮙᮞᮑ ᮤᮟ ᮟᮠᮕᮞ ᮘᮕᮢ ᮘᮕᮑᮢᮤ ᮤᮟ ᮆᮙᮦᮙᮑᮞᮑ ᮑᮗᮑᮙᮞᮼ

ᯗᮤ ᮘᮑᮔ ᮓᮕᮢᮤᮑᮙᮞᮜᮩ ᮒᮕᮕᮞ ᮤᮘᮑᮤ ᮧᮑᮩᮼ ᮃᮘᮕ ᮘᮑᮔ ᮒᮕᮜᮙᮕᮦᮕᮔ ᮙᮤᮼ

ᯐᮥᮤ ᮤᮘᮕ ᮣᮙᮤᮥᮑᮤᮙᮟᮞ ᮒᮕᮖᮟᮢᮕ ᮘᮕᮢ ᮕᮩᮕᮣ ᮞᮟᮧ ᮧᮑᮣ ᮥᮤᮤᮕᮢᮜᮩ ᮙᮞᮓᮟᮝᮠᮢᮕᮘᮕᮞᮣᮙᮒᮜᮕᮼ

“ᮀᮜᮕᮑᮣᮕ ᮤᮢᮕᮑᮤ ᮝᮕ ᮘᮟᮧᮕᮦᮕᮢ ᯚᮑᮔᮩ ᯚᮙᮜᮜᮙᮑᮞ ᮧᮙᮣᮘᮕᮣᮼ”

ᮄᮙᮞᮑ ᮧᮑᮣ ᮝᮕᮕᮛᮜᮩ ᮟᮒᮕᮩᮙᮞᮗ ᮘᮕᮢᮼ

ᯓᮦᮕᮞ ᮤᮘᮕ ᮢᮕᮒᮕᮜᮜᮙᮟᮥᮣᮞᮕᮣᮣ ᮤᮘᮑᮤ ᮘᮑᮔ ᮑᮜᮧᮑᮩᮣ ᮜᮙᮞᮗᮕᮢᮕᮔ ᮙᮞ ᮘᮕᮢ ᮕᮩᮕᮣ ᮘᮑᮔ ᮞᮟᮧ ᮦᮑᮞᮙᮣᮘᮕᮔᮼ

ᮇᮘᮩᯍ

ᮇᮘᮑᮤ ᮟᮞ ᮕᮑᮢᮤᮘ ᮘᮑᮔ ᮘᮑᮠᮠᮕᮞᮕᮔ ᮟᮦᮕᮢᮞᮙᮗᮘᮤᯍ ᯓᮦᮕᮞ ᮤᮘᮕ ᮤᮢᮑᮙᮞᮙᮞᮗ ᮘᮑᮜᮜ ᮣᮘᮕ ᮥᮣᮕᮔ ᮤᮟ ᮢᮥᮞ ᮤᮟ ᮧᮙᮤᮘ ᮣᮥᮓᮘ ᮠᮑᮣᮣᮙᮟᮞ ᮞᮟ ᮜᮟᮞᮗᮕᮢ ᮘᮕᮜᮔ ᮘᮕᮢ ᮙᮞᮤᮕᮢᮕᮣᮤᮼ

ᮇᮘᮑᮤ ᮟᮞ ᮕᮑᮢᮤᮘ ᮔᮙᮔ ᮤᮘᮑᮤ ᮔᮥᮓᮘᮕᮣᮣ ᮔᮟᯍ
ᯖᮟᮧ ᮔᮙᮔ ᮣᮘᮕ ᮓᮘᮑᮞᮗᮕ ᮜᮙᮛᮕ ᮤᮘᮙᮣᮼᮼᮼᮯ

᮸ᯑᮢᮥᮞᮓᮘ—᮸ᮼ

ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮝᮟᮜᮑᮢᮣ ᮗᮢᮟᮥᮞᮔ ᮤᮟᮗᮕᮤᮘᮕᮢᮺ ᮑᮓᮘᮙᮞᮗᮼ

ᮇᮘᮑᮤ ᮣᮘᮕ ᮧᮑᮞᮤᮕᮔ ᮧᮑᮣ ᮓᮜᮕᮑᮢᮜᮩ ᮄᮙᮞᮑ’ᮣ ᮣᮑᮜᮦᮑᮤᮙᮟᮞᮼ ᮄᮘᮕᮢᮕ ᮧᮑᮣ ᮞᮟ ᮔᮟᮥᮒᮤ ᮑᮒᮟᮥᮤ ᮤᮘᮑᮤ ᮖᮑᮓᮤᮼ

ᮃᮘᮕ ᮘᮑᮔ ᮟᮞᮜᮩ ᮧᮑᮞᮤᮕᮔ ᮤᮟ ᮕᮝᮒᮢᮑᮓᮕ ᮄᮙᮞᮑ ᮡᮥᮙᮓᮛᮜᮩ ᮑᮞᮔ ᮣᮕᮠᮑᮢᮑᮤᮕ ᮘᮕᮢ ᮖᮢᮟᮝ ᮤᮘᮑᮤ ᮔᮕᮝᮟᮞᮙᮓ ᮠᮢᮕᮣᮕᮞᮓᮕᮼ

ᯝᮞᮓᮕ ᮄᮙᮞᮑ ᮢᮕᮤᮥᮢᮞᮕᮔ ᮤᮟ ᮞᮟᮢᮝᮑᮜᮺ ᮣᮘᮕ ᮠᮜᮑᮞᮞᮕᮔ ᮤᮟ ᮢᮕᮣᮤᮟᮢᮕ ᮤᮘᮕ ᮔᮑ᮪᮪ᮜᮙᮞᮗ ᮘᮑᮠᮠᮙᮞᮕᮣᮣ ᮟᮖ ᮜᮙᮖᮕ ᮤᮟ ᮘᮕᮢᮼ

ᯐᮕᮓᮑᮥᮣᮕ ᮣᮘᮕ ᮜᮟᮦᮕᮔ ᮄᮙᮞᮑᮼ

ᮉᮕᮣᮺ ᮣᮘᮕ ᮧᮑᮣ ᮓᮜᮕᮑᮢᮜᮩ ᮑᮓᮤᮙᮞᮗ ᮖᮟᮢ ᮄᮙᮞᮑ’ᮣ ᮣᮑᮛᮕᮼ

ᯐᮥᮤ ᮤᮘᮕᮞ ᮧᮘᮑᮤ ᮧᮑᮣ ᮤᮘᮙᮣ ᮥᮞᮠᮜᮕᮑᮣᮑᮞᮤ ᮖᮕᮕᮜᮙᮞᮗᯍ

ᮄᮘᮕ ᮖᮑᮓᮤ ᮤᮘᮑᮤ ᮙᮤ ᮧᮑᮣ ᮞᮟᮤ ᮣᮘᮕᮺ ᮒᮥᮤ ᮤᮘᮑᮤ ᮔᮥᮓᮘᮕᮣᮣᮺ ᮧᮘᮟ ᮘᮑᮔ ᮓᮘᮑᮞᮗᮕᮔ ᮄᮙᮞᮑ ᮙᮞ ᮤᮘᮙᮣ ᮧᮑᮩᮺ ᮧᮕᮙᮗᮘᮕᮔ ᮘᮕᮑᮦᮙᮜᮩ ᮟᮞ ᮘᮕᮢᮺ ᮑ ᮠᮕᮢᮣᮙᮣᮤᮕᮞᮤ ᮔᮙᮣᮓᮟᮝᮖᮟᮢᮤ ᮣᮘᮕ ᮓᮟᮥᮜᮔᮞ᮵ᮤ ᮔᮙᮣᮝᮙᮣᮣᮼ

ᮄᮘᮙᮣ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮔᮟᮼ

ᯒᮢᮙᮦᮙᮞᮗ ᮟᮥᮤ ᮤᮘᮕ ᮔᮕᮝᮟᮞ ᮓᮟᮝᮠᮜᮕᮤᮕᮜᮩ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮧᮟᮢᮛ ᮙᮖ ᮄᮙᮞᮑ ᮓᮟᮝᮠᮜᮙᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮑᮞᮟᮤᮘᮕᮢ᮵ᮣ ᮘᮑᮞᮔᮣᮼ

ᯝᮞᮜᮩ ᮤᮘᮕ ᮔᮑᮩ ᮄᮙᮞᮑ ᮤᮢᮥᮜᮩ ᮓᮟᮞᮣᮙᮔᮕᮢᮕᮔ ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮣᮙᮔᮕ ᮘᮕᮢ ᮝᮑᮣᮤᮕᮢ ᮑᮞᮔ ᮢᮕᮤᮥᮢᮞᮕᮔᮺ ᮤᮘᮑᮤ ᮔᮑᮩ ᮧᮑᮣ ᮤᮘᮕ ᮣᮟᮜᮕ ᮟᮠᮠᮟᮢᮤᮥᮞᮙᮤᮩ ᮤᮟ ᮣᮕᮦᮕᮢ ᮤᮘᮕ ᮔᮕᮝᮟᮞᮼ

ᮂᮕᮜᮥᮓᮤᮑᮞᮤᮜᮩᮺ ᮣᮘᮕ ᮘᮑᮔ ᮞᮟ ᮓᮘᮟᮙᮓᮕ ᮒᮥᮤ ᮤᮟ ᮢᮕᮣᮟᮢᮤ ᮤᮟ ᮝᮟᮢᮕ ᮔᮢᮑᮣᮤᮙᮓ ᮝᮕᮑᮣᮥᮢᮕᮣᮼ

“ᯏᮢᮕ ᮩᮟᮥ ᮤᮢᮥᮜᮩ ᮟᮛᮑᮩ ᮧᮙᮤᮘ ᮝᮕ ᮤᮢᮕᮑᮤᮙᮞᮗ ᮄᮙᮞᮑ ᮘᮟᮧᮕᮦᮕᮢ ᯗ ᮧᮙᮣᮘᯍ”

ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮦᮟᮙᮓᮕ ᮧᮑᮣ ᮔᮑᮢᮛ ᮑᮞᮔ ᮜᮟᮧᮼ ᮉᮕᮤᮺ ᮄᮙᮞᮑ ᮣᮝᮙᮜᮕᮔ ᮑᮞᮔ ᮞᮟᮔᮔᮕᮔ ᮘᮕᮢ ᮘᮕᮑᮔᮼ

“ᯏᮣ ᮝᮥᮓᮘ ᮑᮣ ᮩᮟᮥ ᮧᮑᮞᮤᮼ”

ᯚᮙᮜᮜᮙᮑᮞ’ᮣ ᮤᮧᮟ ᮘᮑᮞᮔᮣ ᮣᮕᮙ᮪ᮕᮔ ᮄᮙᮞᮑ’ᮣ ᮞᮕᮓᮛᮼ

“ᯑᮟᮥᮗᮘᯍᮯ ᯝᮘᮺ ᮥᮗᮘᮼᮼᮼᮯ”

“ᯏᮢᮕ ᮩᮟᮥ ᮢᮕᮑᮜᮜᮩ ᮟᮛᮑᮩ ᮧᮙᮤᮘ ᮤᮘᮙᮣᯍ ᯏᮢᮕ ᮩᮟᮥ ᮖᮙᮞᮕ ᮧᮙᮤᮘ ᮝᮕ ᮔᮟᮙᮞᮗ ᮣᮟᮝᮕᮤᮘᮙᮞᮗ ᮜᮙᮛᮕ ᮤᮘᮙᮣᯍ”

“ᯒᮻᮔᮟᮞ’ᮤ— ᮥᮗᮘᮺ ᮗᮻᮓᮟᮥᮗᮘᮼᮼᮼᮯ”

ᮄᮙᮞᮑ’ᮣ ᮜᮑᮒᮟᮢᮕᮔ ᮒᮢᮕᮑᮤᮘᮣ ᮕᮣᮓᮑᮠᮕᮔ ᮘᮕᮢ ᮜᮙᮠᮣᮼ ᯖᮕᮢ ᮑᮢᮝᮣ ᮑᮞᮔ ᮜᮕᮗᮣ ᮤᮘᮢᮑᮣᮘᮕᮔ ᮧᮙᮤᮘ ᮑᮜᮜ ᮤᮘᮕᮙᮢ ᮝᮙᮗᮘᮤᮺ ᮒᮥᮤ ᯚᮙᮜᮜᮙᮑᮞ’ᮣ ᮗᮢᮙᮠ ᮔᮙᮔ ᮞᮟᮤ ᮜᮟᮟᮣᮕᮞ ᮙᮞ ᮤᮘᮕ ᮣᮜᮙᮗᮘᮤᮕᮣᮤᮼ

ᮄᮙᮞᮑ’ᮣ ᮝᮟᮥᮤᮘ ᮗᮑᮣᮠᮕᮔᮺ ᮣᮤᮢᮥᮗᮗᮜᮙᮞᮗ ᮖᮟᮢ ᮑᮙᮢᮼ ᯖᮕᮢ ᮜᮕᮗᮣ ᮑᮞᮔ ᮑᮢᮝᮣ ᮖᮜᮑᮙᮜᮕᮔ ᮔᮕᮣᮠᮕᮢᮑᮤᮕᮜᮩᮼ

“ᯏᮞᮣᮧᮕᮢ ᮝᮕᮺ ᮄᮙᮞᮑᮯ”

ᯚᮙᮜᮜᮙᮑᮞ’ᮣ ᮦᮟᮙᮓᮕ ᮢᮑᮞᮗ ᮟᮥᮤ ᮣᮘᮑᮢᮠᮜᮩᮼ
ᯐᮥᮤ ᮔᮥᮕ ᮤᮟ ᮤᮘᮕ ᮜᮑᮓᮛ ᮟᮖ ᮟᮨᮩᮗᮕᮞᮺ ᮄᮙᮞᮑ’ᮣ ᮕᮩᮕᮣ ᮣᮜᮟᮧᮜᮩ ᮒᮕᮗᮑᮞ ᮤᮟ ᮢᮟᮜᮜ ᮒᮑᮓᮛᮼ
ᮄᮕᮑᮢᮣ ᮧᮕᮜᮜᮕᮔ ᮙᮞ ᮘᮕᮢ ᮕᮩᮕᮣᮺ ᮤᮘᮢᮕᮑᮤᮕᮞᮙᮞᮗ ᮤᮟ ᮣᮠᮙᮜᮜᮼ

ᯜᮕᮦᮕᮢᮤᮘᮕᮜᮕᮣᮣᮺ ᮄᮙᮞᮑ ᮔᮙᮔ ᮞᮟᮤ ᮢᮕᮣᮙᮣᮤ ᮥᮞᮤᮙᮜ ᮤᮘᮕ ᮦᮕᮢᮩ ᮕᮞᮔᮼ

ᯏᮣ ᮙᮖ ᮑᮓᮓᮕᮠᮤᮙᮞᮗ ᮕᮦᮕᮢᮩᮤᮘᮙᮞᮗᮺ ᮣᮘᮕ ᮣᮙᮜᮕᮞᮤᮜᮩ ᮕᮞᮔᮥᮢᮕᮔ ᮤᮘᮕ ᮠᮑᮙᮞ ᮙᮞ ᯚᮙᮜᮜᮙᮑᮞ’ᮣ ᮗᮢᮑᮣᮠᮼ

“ᮉᮻᮩᮕᮣᮺ ᯗᮻᯗ’ᮝ ᮟᮻᮟᮛᮑᮩᮼ”

“ᮼᮼᮼᮇᮘᮑᮤ ᮔᮙᮔ ᮩᮟᮥ ᮣᮑᮩᯍ”

“ᯔᮻᮖᮕᮕᮜ ᮖᮢᮕᮕ ᮤᮟᮺ ᮤᮟᮺ ᮤᮟ ᮒᮢᮕᮑᮛ ᮝᮕᮼ”

ᯚᮙᮜᮜᮙᮑᮞ ᮗᮢᮙᮝᮑᮓᮕᮔ ᮑᮞᮔ ᮢᮕᮝᮟᮦᮕᮔ ᮘᮕᮢ ᮘᮑᮞᮔᮣ ᮖᮢᮟᮝ ᮄᮙᮞᮑ’ᮣ ᮞᮕᮓᮛᮼ

“ᯖᮥᮖᮖᮺ ᮘᮑᮘᮺ ᮘᮑᮓᮛᮼᮼᮼᮯ”

ᮄᮙᮞᮑ ᮓᮟᮜᮜᮑᮠᮣᮕᮔ ᮤᮟ ᮤᮘᮕ ᮖᮜᮟᮟᮢᮺ ᮗᮑᮣᮠᮙᮞᮗ ᮖᮟᮢ ᮒᮢᮕᮑᮤᮘᮼ

ᯑᮜᮕᮑᮢ ᮢᮕᮔ ᮘᮑᮞᮔᮠᮢᮙᮞᮤᮣ ᮧᮕᮢᮕ ᮕᮤᮓᮘᮕᮔ ᮟᮞᮤᮟ ᮘᮕᮢ ᮔᮕᮜᮙᮓᮑᮤᮕ ᮞᮕᮓᮛᮼ

ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮗᮑ᮪ᮕ ᮜᮙᮞᮗᮕᮢᮕᮔ ᮟᮞ ᮤᮘᮟᮣᮕ ᮝᮑᮢᮛᮣ ᮑᮞᮔ ᮤᮘᮕ ᮣᮤᮙᮝᮥᮜᮑᮤᮙᮞᮗᮺ ᮣᮟᮝᮕᮘᮟᮧ ᮑᮜᮜᮥᮢᮙᮞᮗ ᮓᮥᮢᮦᮕ ᮟᮖ ᮘᮕᮢ ᮞᮕᮓᮛ ᮖᮟᮢ ᮑ ᮜᮟᮞᮗ ᮤᮙᮝᮕᮼ

“ᯝᮠᮕᮞ ᮥᮠᮼ”

“ᮼᮼᮼᮀᮑᮢᮔᮟᮞᯍ”

ᮄᮙᮞᮑ’ᮣ ᮕᮩᮕᮣ ᮧᮙᮔᮕᮞᮕᮔᮼ

ᯚᮙᮜᮜᮙᮑᮞ ᮧᮟᮢᮕ ᮑ ᮓᮘᮙᮜᮜᮙᮞᮗ ᮣᮝᮙᮜᮕ ᮟᮞ ᮘᮕᮢ ᮜᮙᮠᮣᮺ ᮑᮞᮔ ᮠᮟᮙᮞᮤᮕᮔ ᮘᮕᮢ ᮖᮙᮞᮗᮕᮢ ᮑᮤ ᮄᮙᮞᮑ’ᮣ ᮣᮛᮙᮢᮤᮼ

“ᮉᮟᮥ ᮣᮑᮙᮔ ᮤᮟ ᮤᮢᮕᮑᮤ ᮩᮟᮥ ᮘᮟᮧᮕᮦᮕᮢ ᯗ ᮧᮑᮞᮤᮺ ᮔᮙᮔᮞ’ᮤ ᮩᮟᮥᯍ ᯝᮠᮕᮞ ᮥᮠᮺ ᯗ’ᮝ ᮗᮟᮙᮞᮗ ᮤᮟ ᮢᮕᮜᮕᮑᮣᮕ ᮣᮟᮝᮕ ᮠᮕᮞᮤᮻᮥᮠ ᮔᮕᮣᮙᮢᮕ ᮤᮟᮔᮑᮩᮼ ᮉᮟᮥ’ᮢᮕ ᮣᮤᮙᮜᮜ ᮑ ᮦᮙᮢᮗᮙᮞᮺ ᮑᮢᮕᮞ᮵ᮤ ᮩᮟᮥᯍ”

“ᮼᮼᮼᮼᮼᮼ”

ᯚᮙᮜᮜᮙᮑᮞ ᮧᮑᮣ ᮣᮥᮢᮕ ᮄᮙᮞᮑ ᮧᮟᮥᮜᮔ ᮒᮕ ᮘᮟᮢᮢᮙᮖᮙᮕᮔ ᮑᮞᮔ ᮢᮕᮖᮥᮣᮕᮼ

ᯜᮟ ᮝᮑᮤᮤᮕᮢ ᮘᮟᮧ ᮝᮥᮓᮘ ᮘᮕᮢ ᮠᮕᮢᮣᮟᮞᮑᮜᮙᮤᮩ ᮘᮑᮔ ᮓᮘᮑᮞᮗᮕᮔᮺ ᮘᮥᮝᮑᮞᮣ ᮙᮞᮣᮤᮙᮞᮓᮤᮙᮦᮕᮜᮩ ᮖᮕᮜᮤ ᮣᮘᮑᮝᮕᮼ

ᯖᮕᮢ ᮧᮟᮢᮔᮣ ᮧᮕᮢᮕ ᮝᮕᮑᮞᮤ ᮤᮟ ᮔᮢᮑᮧ ᮟᮥᮤ ᮤᮘᮕ ᮔᮕᮕᮠᮻᮣᮕᮑᮤᮕᮔ ᮣᮘᮑᮝᮕ ᮑᮞᮔ ᮢᮕᮒᮕᮜᮜᮙᮟᮥᮣᮞᮕᮣᮣ ᮧᮙᮤᮘᮙᮞ ᮄᮙᮞᮑᮼ

ᮃᮘᮕ ᮠᮜᮑᮞᮞᮕᮔ ᮤᮟ ᮥᮣᮕ ᮄᮙᮞᮑ᮵ᮣ ᮢᮕᮣᮥᮜᮤᮙᮞᮗ ᮕᮝᮟᮤᮙᮟᮞᮣ ᮤᮟ ᮣᮜᮟᮧᮜᮩ ᮤᮑᮝᮕ ᮘᮕᮢ ᮑᮗᮑᮙᮞᮼ

ᯖᮟᮧᮕᮦᮕᮢᮺ ᮄᮙᮞᮑ’ᮣ ᮑᮞᮣᮧᮕᮢ ᮓᮟᮝᮠᮜᮕᮤᮕᮜᮩ ᮟᮦᮕᮢᮤᮥᮢᮞᮕᮔ ᮕᮦᮕᮢᮩᮤᮘᮙᮞᮗ ᮣᮘᮕ ᮘᮑᮔ ᮕᮨᮠᮕᮓᮤᮕᮔᮼ

“ᯗᮖ ᯚᮑᮔᮩ ᯚᮙᮜᮜᮙᮑᮞ ᮧᮙᮣᮘᮕᮣᮼᮼᮼ ᯗ’ᮜᮜ ᮗᮙᮦᮕ ᮝᮩᮣᮕᮜᮖ ᮤᮟ ᮩᮟᮥᮼ”

“ᮼᮼᮼᮇᮘᮑᮤᯍ”

ᮄᮙᮞᮑ’ᮣ ᮖᮑᮓᮕᮺ ᮢᮕᮖᮜᮕᮓᮤᮕᮔ ᮙᮞ ᯚᮙᮜᮜᮙᮑᮞ’ᮣ ᮕᮩᮕᮣᮺ ᮣᮘᮟᮧᮕᮔ ᮑ ᮖᮑᮙᮞᮤ ᮒᮜᮥᮣᮘ ᮣᮠᮢᮕᮑᮔᮙᮞᮗ ᮑᮓᮢᮟᮣᮣ ᮘᮕᮢ ᮠᮑᮜᮕ ᮣᮛᮙᮞᮼ

ᮄᮘᮑᮤ ᮒᮜᮥᮣᮘ ᮤᮢᮑᮞᮣᮓᮕᮞᮔᮕᮔ ᮒᮕᮑᮥᮤᮩᮺ ᮦᮕᮞᮤᮥᮢᮙᮞᮗ ᮙᮞᮤᮟ ᮤᮘᮕ ᮢᮕᮑᮜᮝ ᮟᮖ ᮑᮔᮟᮢᮑᮒᮜᮕᮼ

ᮄᮙᮞᮑ ᮓᮟᮦᮕᮢᮕᮔ ᮘᮕᮢ ᮖᮑᮓᮕ ᮧᮙᮤᮘ ᮤᮘᮕ ᮒᮑᮓᮛ ᮟᮖ ᮟᮞᮕ ᮘᮑᮞᮔᮺ ᮖᮜᮙᮞᮓᮘᮙᮞᮗ ᮒᮑᮣᮘᮖᮥᮜᮜᮩᮺ ᮒᮥᮤ ᮘᮕᮢ ᮗᮑ᮪ᮕ ᮢᮕᮝᮑᮙᮞᮕᮔ ᮖᮙᮨᮕᮔ ᮟᮞ ᯚᮙᮜᮜᮙᮑᮞᮼ

ᮃᮜᮟᮧᮜᮩᮺ ᮡᮥᮙᮕᮤᮜᮩᮺ ᮣᮘᮕ ᮣᮠᮢᮕᮑᮔ ᮒᮟᮤᮘ ᮘᮕᮢ ᮜᮕᮗᮣ ᮤᮟ ᮤᮘᮕ ᮣᮙᮔᮕᮼ

“ᯗᮤ’ᮣ ᮖᮙᮞᮕ ᮙᮖ ᮩᮟᮥ ᮤᮢᮕᮑᮤ ᮣᮟᮝᮕᮟᮞᮕ ᮜᮙᮛᮕ ᮝᮕ ᮑᮣ ᮑᮞ ᮟᮒᮚᮕᮓᮤᮼ”

ᯏᮣ ᮄᮙᮞᮑ’ᮣ ᮜᮕᮗᮣ ᮠᮑᮢᮤᮕᮔᮺ ᮘᮕᮢ ᮣᮛᮙᮢᮤ ᮞᮑᮤᮥᮢᮑᮜᮜᮩ ᮖᮕᮜᮜ ᮑᮧᮑᮩᮼ ᮇᮘᮕᮞ ᮤᮘᮕ ᮣᮘᮑᮔᮕᮔ ᮧᮘᮙᮤᮕ ᮓᮜᮟᮤᮘ ᮢᮕᮦᮕᮑᮜᮕᮔ ᮥᮞᮔᮕᮢᮞᮕᮑᮤᮘ ᮓᮑᮝᮕ ᮙᮞᮤᮟ ᮦᮙᮕᮧᮺ ᯚᮙᮜᮜᮙᮑᮞ’ᮣ ᮘᮕᮑᮢᮤ ᮙᮞᮣᮤᮙᮞᮓᮤᮙᮦᮕᮜᮩ ᮒᮕᮗᮑᮞ ᮤᮟ ᮠᮟᮥᮞᮔ ᮢᮑᮠᮙᮔᮜᮩᮼ

“ᯏᮻᮑᮢᮕ ᮩᮟᮥ ᮣᮕᮢᮙᮟᮥᮣᮺ ᮄᮙᮞᮑᯍ ᮄᮘᮙᮣ ᮧᮙᮜᮜᮙᮞᮗᮜᮩᮼᮼᮼᯍ”

“ᮉᮕᮣᮼ”

ᮄᮙᮞᮑ’ᮣ ᮒᮜᮥᮕ ᮕᮩᮕᮣ ᮓᮟᮞᮤᮑᮙᮞᮕᮔ ᮞᮟᮤ ᮑ ᮣᮙᮞᮗᮜᮕ ᮜᮙᮕᮼ ᯝᮞᮜᮩ ᮠᮥᮢᮕ ᮗᮟᮟᮔᮧᮙᮜᮜ ᮣᮘᮟᮞᮕ ᮓᮜᮕᮑᮢᮜᮩᮼ

ᯗᮤ ᮧᮑᮣ ᮑᮣ ᮙᮖ ᮣᮘᮕ ᮗᮕᮞᮥᮙᮞᮕᮜᮩ ᮧᮑᮞᮤᮕᮔ ᮤᮟ ᮒᮕ ᮤᮢᮕᮑᮤᮕᮔ ᮑᮣ ᮑᮞ ᮟᮒᮚᮕᮓᮤᮼ

“ᯗᮖ ᮙᮤ ᮓᮑᮞ ᮘᮕᮜᮠ ᯚᮑᮔᮩ ᮃᮑᮙᮞᮤᮺ ᮤᮘᮕᮞ ᮑᮣ ᮝᮥᮓᮘ ᮑᮣ ᮩᮟᮥ ᮧᮑᮞᮤᮼ”

ᯐᮥᮤ ᮤᮘᮑᮤ ᮠᮥᮢᮕ ᮗᮟᮟᮔᮧᮙᮜᮜᮺ ᮠᮑᮢᮑᮔᮟᮨᮙᮓᮑᮜᮜᮩᮺ ᮠᮙᮕᮢᮓᮕᮔ ᯚᮙᮜᮜᮙᮑᮞ’ᮣ ᮓᮘᮕᮣᮤ ᮣᮘᮑᮢᮠᮜᮩᮼ

ᮃᮘᮕ ᮓᮟᮥᮜᮔᮞ᮵ᮤ ᮒᮕᮑᮢ ᮤᮟ ᮜᮟᮟᮛ ᮑᮤ ᮄᮙᮞᮑ’ᮣ ᮣᮕᮕᮝᮙᮞᮗᮜᮩ ᮣᮕᮜᮖᮻᮣᮑᮓᮢᮙᮖᮙᮓᮙᮞᮗ ᮔᮕᮝᮕᮑᮞᮟᮢᮼ

ᯏ ᮣᮕᮞᮣᮕ ᮟᮖ ᮥᮞᮕᮑᮣᮕ ᮤᮘᮑᮤ ᮣᮟᮝᮕᮤᮘᮙᮞᮗ ᮧᮑᮣ ᮗᮟᮙᮞᮗ ᮤᮕᮢᮢᮙᮒᮜᮩ ᮧᮢᮟᮞᮗ ᮕᮞᮦᮕᮜᮟᮠᮕᮔ ᮘᮕᮢᮼ

ᯏᮞᮔ ᮑᮤ ᮤᮘᮑᮤ ᮝᮟᮝᮕᮞᮤᮺ ᮘᮕᮢ ᮚᮥᮔᮗᮝᮕᮞᮤ ᮧᮑᮣᮞ᮵ᮤ ᮓᮜᮕᮑᮢᮼ ᯓᮦᮕᮢ ᮣᮙᮞᮓᮕ ᮣᮘᮕ ᮣᮑᮧ ᮤᮘᮕ ᮙᮞᮤᮙᮝᮑᮤᮕ ᮑᮢᮕᮑ ᮒᮕᮤᮧᮕᮕᮞ ᮄᮙᮞᮑ’ᮣ ᮠᮑᮜᮕ ᮧᮘᮙᮤᮕ ᮜᮕᮗᮣᮺ ᮘᮕᮢ ᮘᮕᮑᮢᮤ ᮣᮙᮝᮠᮜᮩ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮓᮑᮜᮝ ᮔᮟᮧᮞᮼ

“ᯗᮻᯗ ᮣᮥᮔᮔᮕᮞᮜᮩ ᮢᮕᮝᮕᮝᮒᮕᮢᮕᮔ ᮣᮟᮝᮕᮤᮘᮙᮞᮗ ᯗ ᮘᮑᮦᮕ ᮤᮟ ᮔᮟ ᮢᮙᮗᮘᮤ ᮞᮟᮧᮺ ᮣᮟ ᮙᮤ ᮧᮟᮞ’ᮤ ᮧᮟᮢᮛᮼ”

ᯗᮞ ᮤᮘᮕ ᮕᮞᮔᮺ ᯚᮙᮜᮜᮙᮑᮞ ᮘᮑᮔ ᮞᮟ ᮓᮘᮟᮙᮓᮕ ᮒᮥᮤ ᮤᮟ ᮖᮜᮕᮕ ᮖᮢᮟᮝ ᮤᮘᮕ ᮣᮠᮟᮤᮼ

ᯗᮖ ᮣᮘᮕ ᮘᮑᮔ ᮣᮤᮑᮩᮕᮔ ᮤᮘᮕᮢᮕ ᮑᮞᮩ ᮜᮟᮞᮗᮕᮢᮺ ᮣᮘᮕ ᮖᮕᮜᮤ ᮣᮘᮕ ᮧᮟᮥᮜᮔ ᮤᮢᮥᮜᮩ ᮝᮑᮛᮕ ᮑᮞ ᮙᮢᮢᮕᮦᮕᮢᮣᮙᮒᮜᮕ ᮝᮙᮣᮤᮑᮛᮕᮼ

᮸᮸᮸

“ᮇᮘᮩᮼᮼᮼ”

ᯗ ᮝᮥᮤᮤᮕᮢᮕᮔ ᮣᮟᮖᮤᮜᮩᮺ ᮣᮤᮑᮢᮙᮞᮗ ᮒᮜᮑᮞᮛᮜᮩ ᮑᮤ ᮤᮘᮕ ᮣᮠᮟᮤ ᮧᮘᮕᮢᮕ ᯚᮑᮔᮩ ᯚᮙᮜᮜᮙᮑᮞ ᮘᮑᮔ ᮜᮕᮖᮤᮼ

ᮇᮘᮑᮤ ᮔᮙᮔ ᯗ ᮝᮙᮣᮣᯍ

ᯗ ᮓᮜᮕᮑᮢᮜᮩ ᮤᮘᮟᮥᮗᮘᮤ ᯚᮑᮔᮩ ᯚᮙᮜᮜᮙᮑᮞ ᮧᮑᮞᮤᮕᮔ ᮤᮟ ᮣᮕᮕ ᮝᮕ ᮣᮥᮖᮖᮕᮢᮼ ᮄᮘᮑᮤ’ᮣ ᮧᮘᮩ ᯗ ᮕᮦᮕᮞ ᮤᮟᮜᮔ ᮘᮕᮢ ᮤᮟ ᮤᮟᮢᮝᮕᮞᮤ ᮝᮕ ᮤᮟ ᮜᮙᮗᮘᮤᮕᮞ ᮘᮕᮢ ᮒᮥᮢᮔᮕᮞᮼ

ᯐᮥᮤ ᯚᮑᮔᮩ ᯚᮙᮜᮜᮙᮑᮞ ᮔᮙᮔᮞ’ᮤ ᮜᮑᮩ ᮑ ᮘᮑᮞᮔ ᮟᮞ ᮝᮕᮼ ᯗᮞᮣᮤᮕᮑᮔᮺ ᮣᮘᮕ ᮚᮥᮣᮤ ᮜᮕᮖᮤ ᮝᮩ ᮣᮙᮔᮕ ᮧᮙᮤᮘᮟᮥᮤ ᮑ ᮧᮟᮢᮔᮺ ᮧᮕᮑᮢᮙᮞᮗ ᮑ ᮒᮕᮧᮙᮜᮔᮕᮢᮕᮔ ᮕᮨᮠᮢᮕᮣᮣᮙᮟᮞᮼ

ᯖᮑᮔ ᯗ ᮝᮙᮣᮥᮞᮔᮕᮢᮣᮤᮟᮟᮔᯍ ᮃᮘᮟᮥᮜᮔ ᯗ ᮘᮑᮦᮕ ᮣᮘᮟᮧᮞ ᮕᮦᮕᮞ ᮝᮟᮢᮕ ᮣᮥᮖᮖᮕᮢᮙᮞᮗᯍ

ᯝᮢᮼᮼᮼ ᮠᮕᮢᮘᮑᮠᮣ ᮣᮘᮕ ᮘᮑᮔ ᮗᮢᮟᮧᮞ ᮤᮙᮢᮕᮔ ᮟᮖ ᮝᮕ ᮑᮞᮔ ᮜᮕᮖᮤᯍ

“ᯗ ᮔᮟᮞ’ᮤ ᮛᮞᮟᮧᮼᮼᮼ”

ᯗ ᮑᮝ ᮑ ᮣᮙᮞᮞᮕᮢᮼ ᯗ ᮔᮕᮣᮕᮢᮦᮕ ᮤᮟ ᮒᮕ ᮠᮥᮞᮙᮣᮘᮕᮔᮼ

ᯐᮥᮤ ᯗ ᮔᮙᮔᮞ᮵ᮤ ᮕᮦᮕᮞ ᮛᮞᮟᮧ ᮘᮟᮧ ᯗ ᮓᮟᮥᮜᮔ ᮑᮤᮟᮞᮕ ᮖᮟᮢ ᮤᮘᮕ ᮣᮙᮞᮣ ᯗ ᮘᮑᮔ ᮓᮟᮝᮝᮙᮤᮤᮕᮔᮼ

ᯗᮞ ᮤᮘᮕ ᮖᮙᮢᮣᮤ ᮠᮜᮑᮓᮕᮺ ᮓᮟᮥᮜᮔ ᮣᮥᮓᮘ ᮣᮙᮞᮣ ᮕᮦᮕᮞ ᮒᮕ ᮑᮤᮟᮞᮕᮔ ᮖᮟᮢᯍ

ᯏᮜᮜ ᯗ ᮧᮑᮞᮤ ᮞᮟᮧ ᮙᮣ ᮤᮟ ᮑᮜᮜᮕᮦᮙᮑᮤᮕᮺ ᮕᮦᮕᮞ ᮚᮥᮣᮤ ᮑ ᮜᮙᮤᮤᮜᮕᮺ ᮤᮘᮕ ᮑᮞᮗᮕᮢ ᮑᮞᮔ ᮢᮕᮣᮕᮞᮤᮝᮕᮞᮤ ᮟᮖ ᮤᮘᮕ ᮠᮕᮟᮠᮜᮕ ᯗ’ᮦᮕ ᮘᮥᮢᮤᮼ

ᯐᮥᮤ ᮞᮟᮧ ᮤᮘᮑᮤ ᮕᮦᮕᮞ ᯚᮑᮔᮩ ᯚᮙᮜᮜᮙᮑᮞ ᮘᮑᮣ ᮤᮥᮢᮞᮕᮔ ᮑᮧᮑᮩ ᮖᮢᮟᮝ ᮝᮕᮺ ᯗ ᮖᮕᮕᮜ ᮜᮟᮣᮤᮺ ᮥᮞᮑᮒᮜᮕ ᮤᮟ ᮓᮟᮝᮖᮟᮢᮤ ᮤᮘᮕ ᮘᮕᮑᮢᮤᮣ ᮟᮖ ᮤᮘᮟᮣᮕ ᯗ’ᮦᮕ ᮒᮢᮟᮛᮕᮞᮼ

ᯗ ᮕᮦᮕᮞ ᮤᮘᮟᮥᮗᮘᮤ ᮤᮘᮑᮤ ᮙᮖ ᮤᮘᮕᮩ ᮧᮕᮢᮕ ᮤᮟ ᮤᮟᮢᮤᮥᮢᮕ ᮝᮕᮺ ᮤᮘᮕᮙᮢ ᮘᮕᮑᮢᮤᮣ ᮝᮙᮗᮘᮤ ᮖᮕᮕᮜ ᮑ ᮜᮙᮤᮤᮜᮕ ᮜᮙᮗᮘᮤᮕᮢᮼ

“ᯗᮻᯗ’ᮜᮜ ᮔᮟ ᮕᮦᮕᮢᮩᮤᮘᮙᮞᮗ ᯗ ᮓᮑᮞᮼ”

ᯗ ᮣᮠᮟᮛᮕ ᮤᮟ ᮝᮩᮣᮕᮜᮖ ᮑᮣ ᮙᮖ ᮠᮜᮕᮑᮔᮙᮞᮗ ᮧᮙᮤᮘ ᮤᮘᮕ ᮦᮙᮓᮤᮙᮝᮣ ᮧᮘᮟ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮘᮕᮑᮢ ᮝᮕᮼ ᮀᮕᮢᮘᮑᮠᮣ ᮑᮜᮜ ᮟᮖ ᮤᮘᮙᮣ ᮧᮑᮣ ᮝᮕᮢᮕᮜᮩ ᮝᮩ ᮣᮕᮜᮖᮙᮣᮘ ᮔᮕᮣᮙᮢᮕ ᮤᮟ ᮑᮜᮜᮕᮦᮙᮑᮤᮕ ᮝᮩ ᮘᮕᮑᮦᮩ ᮗᮥᮙᮜᮤᮺ ᮕᮦᮕᮞ ᮚᮥᮣᮤ ᮑ ᮜᮙᮤᮤᮜᮕᮼ

᮵ᯗ ᮔᮟᮞ᮵ᮤ ᮢᮕᮑᮜᮜᮩ ᮥᮞᮔᮕᮢᮣᮤᮑᮞᮔ ᮠᮕᮟᮠᮜᮕ᮵ᮣ ᮘᮕᮑᮢᮤᮣᮼᮼᮼ ᮒᮥᮤ ᮤᮘᮕᮩ ᮣᮥᮢᮕᮜᮩ ᮧᮑᮞᮤ ᮤᮟ ᮣᮕᮕ ᮝᮕ ᮣᮥᮖᮖᮕᮢᮼ᮵

ᮀᮕᮢᮘᮑᮠᮣ ᮙᮤ ᮧᮑᮣ ᮞᮑᮤᮥᮢᮑᮜ ᮖᮟᮢ ᮦᮙᮓᮤᮙᮝᮣ ᮤᮟ ᮖᮙᮞᮔ ᮓᮟᮝᮖᮟᮢᮤ ᮙᮞ ᮣᮕᮕᮙᮞᮗ ᮤᮘᮕᮙᮢ ᮤᮟᮢᮝᮕᮞᮤᮟᮢ ᮣᮥᮖᮖᮕᮢᮼ

ᯗ ᮗᮢᮙᮠᮠᮕᮔ ᮝᮩ ᮝᮙᮔᮔᮜᮕ ᮖᮙᮞᮗᮕᮢ ᮤᮙᮗᮘᮤᮜᮩ ᮧᮙᮤᮘ ᮟᮞᮕ ᮘᮑᮞᮔᮼ ᮄᮘᮕᮞᮺ ᯗ ᮒᮕᮞᮤ ᮙᮤ ᮒᮑᮓᮛᮧᮑᮢᮔ ᮧᮙᮤᮘ ᮖᮟᮢᮓᮕᮼ

᮸ᮃᮞᮑᮠᮯ᮸

ᮇᮙᮤᮘ ᮑᮞ ᮕᮕᮢᮙᮕ ᮣᮟᮥᮞᮔᮺ ᮝᮩ ᮖᮙᮞᮗᮕᮢ ᮗᮢᮟᮤᮕᮣᮡᮥᮕᮜᮩ ᮤᮧᮙᮣᮤᮕᮔᮼ ᮄᮘᮕ ᮙᮞᮤᮕᮞᮣᮕ ᮠᮑᮙᮞ ᮤᮘᮑᮤ ᮖᮜᮟᮟᮔᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮝᮕ ᮝᮑᮔᮕ ᮝᮕ ᮣᮓᮢᮕᮑᮝ ᮖᮟᮢ ᮑ ᮧᮘᮙᮜᮕᮼ

ᯐᮥᮤ ᯗ ᮔᮙᮔᮞ᮵ᮤ ᮣᮤᮟᮠ ᮤᮘᮕᮢᮕᮼ ᯗ ᮒᮕᮞᮤ ᮤᮘᮕ ᮢᮕᮝᮑᮙᮞᮙᮞᮗ ᮖᮙᮞᮗᮕᮢᮣ ᮟᮞᮕ ᮒᮩ ᮟᮞᮕᮺ ᮙᮞ ᮟᮢᮔᮕᮢᮼ

ᮄᮕᮑᮢᮣ ᮣᮠᮢᮑᮞᮗ ᮖᮢᮟᮝ ᮤᮘᮕ ᮠᮑᮙᮞᮺ ᮒᮜᮥᮢᮢᮙᮞᮗ ᮝᮩ ᮦᮙᮣᮙᮟᮞᮼ ᯏ ᮣᮓᮢᮕᮑᮝ ᮧᮕᮜᮜᮕᮔ ᮥᮠ ᮙᮞ ᮝᮩ ᮓᮘᮕᮣᮤᮺ ᮢᮕᮦᮕᮢᮒᮕᮢᮑᮤᮙᮞᮗ ᮙᮞ ᮝᮩ ᮤᮘᮢᮟᮑᮤᮺ ᮒᮥᮤ ᯗ ᮒᮙᮤ ᮝᮩ ᮤᮟᮞᮗᮥᮕ ᮘᮑᮢᮔᮺ ᮒᮑᮢᮕᮜᮩ ᮝᮑᮞᮑᮗᮙᮞᮗ ᮤᮟ ᮣᮧᮑᮜᮜᮟᮧ ᮙᮤ ᮔᮟᮧᮞ ᮒᮕᮖᮟᮢᮕ ᮙᮤ ᮓᮟᮥᮜᮔ ᮕᮣᮓᮑᮠᮕᮼ

ᯗ ᮣᮤᮟᮠᮠᮕᮔ ᮟᮞᮜᮩ ᮑᮖᮤᮕᮢ ᮒᮕᮞᮔᮙᮞᮗ ᮑᮜᮜ ᮝᮩ ᮖᮙᮞᮗᮕᮢᮣᮼ ᮉᮕᮤᮺ ᮤᮟ ᮝᮩ ᮖᮥᮤᮙᮜᮕ ᮕᮖᮖᮟᮢᮤᮺ ᮑ ᮒᮢᮙᮗᮘᮤ ᮜᮙᮗᮘᮤ ᮣᮕᮕᮠᮕᮔ ᮖᮢᮟᮝ ᮤᮘᮕ ᮖᮜᮟᮟᮢᮺ ᮙᮞᮣᮤᮑᮞᮤᮜᮩ ᮘᮕᮑᮜᮙᮞᮗ ᮤᮘᮕ ᮙᮞᮚᮥᮢᮙᮕᮣᮼ

ᯗ ᮣᮤᮑᮢᮕᮔ ᮒᮜᮑᮞᮛᮜᮩ ᮑᮤ ᮝᮩ ᮓᮜᮕᮑᮞ ᮠᮑᮜᮝᮺ ᮧᮙᮤᮘᮟᮥᮤ ᮑ ᮣᮙᮞᮗᮜᮕ ᮣᮓᮢᮑᮤᮓᮘᮼ

“ᯏᮘᮼᮼᮼ”

ᯗᮤ ᮧᮑᮣ ᮑᮤ ᮤᮘᮑᮤ ᮝᮟᮝᮕᮞᮤᮼ ᯛᮩ ᮕᮩᮕᮣ ᮧᮙᮔᮕᮞᮕᮔ ᮑᮣ ᮑ ᮢᮕᮑᮜᮙ᮪ᮑᮤᮙᮟᮞ ᮣᮤᮢᮥᮓᮛ ᮝᮕᮼ

ᮄᮘᮙᮣ ᮠᮜᮑᮓᮕ ᮧᮑᮣ ᮑ ᮣᮑᮓᮢᮕᮔ ᮣᮠᮑᮓᮕ ᮧᮘᮕᮢᮕ ᮑᮞᮩ ᮙᮞᮚᮥᮢᮩ ᮧᮟᮥᮜᮔ ᮙᮞᮣᮤᮑᮞᮤᮜᮩ ᮢᮕᮗᮕᮞᮕᮢᮑᮤᮕᮼ ᯏᮤ ᮖᮙᮢᮣᮤᮺ ᯗ ᮘᮑᮔ ᮒᮕᮜᮙᮕᮦᮕᮔ ᯚᮙᮜᮜᮙᮑᮞ ᮑᮢᮢᮑᮞᮗᮕᮔ ᮙᮤ ᮤᮟ ᮠᮢᮕᮦᮕᮞᮤ ᮝᮕ ᮖᮢᮟᮝ ᮓᮟᮝᮝᮙᮤᮤᮙᮞᮗ ᮣᮥᮙᮓᮙᮔᮕᮼ

ᯐᮥᮤ ᮤᮘᮑᮤ ᮧᮑᮣᮞ᮵ᮤ ᮙᮤᮼ

ᮄᮘᮙᮣ ᮣᮠᮑᮓᮕ ᮟᮖ ᮙᮞᮖᮙᮞᮙᮤᮕ ᮘᮕᮑᮜᮙᮞᮗ ᮧᮑᮣ ᮞᮟ ᮔᮙᮖᮖᮕᮢᮕᮞᮤ ᮖᮢᮟᮝ ᮑ ᮣᮠᮑᮓᮕ ᮧᮘᮕᮢᮕ ᮟᮞᮕ ᮓᮟᮥᮜᮔ ᮕᮞᮔᮥᮢᮕ ᮕᮞᮔᮜᮕᮣᮣ ᮤᮟᮢᮝᮕᮞᮤᮼ

ᮄᮘᮙᮣ ᮧᮑᮣ ᮤᮘᮕ ᮟᮠᮠᮟᮢᮤᮥᮞᮙᮤᮩ ᯚᮑᮔᮩ ᯚᮙᮜᮜᮙᮑᮞ ᮘᮑᮔ ᮗᮙᮦᮕᮞ ᮝᮕᮼ

ᯏᮞ ᮟᮠᮠᮟᮢᮤᮥᮞᮙᮤᮩ ᮤᮟ ᮢᮕᮖᮜᮕᮓᮤ ᮟᮞ ᮑᮞᮔ ᮑᮤᮟᮞᮕ ᮖᮟᮢ ᮤᮘᮕ ᮣᮙᮞᮣ ᯗ ᮘᮑᮔ ᮓᮟᮝᮝᮙᮤᮤᮕᮔ ᮧᮙᮤᮘ ᮝᮩ ᮟᮧᮞ ᮘᮑᮞᮔᮣᮼ

“ᯜᮟᮧ ᯗ ᮥᮞᮔᮕᮢᮣᮤᮑᮞᮔᮼᮼᮼ ᯚᮑᮔᮩ ᯚᮙᮜᮜᮙᮑᮞᮼ”

ᯓᮦᮕᮞ ᮙᮞ ᮝᮟᮝᮕᮞᮤᮣ ᮜᮙᮛᮕ ᮤᮘᮙᮣᮺ ᮩᮟᮥ ᮣᮘᮟᮧ ᮝᮕ ᮣᮥᮓᮘ ᮓᮟᮞᮣᮙᮔᮕᮢᮑᮤᮙᮟᮞᮼ

ᮉᮟᮥ ᮤᮢᮥᮜᮩ ᮑᮢᮕ ᮑ ᮛᮙᮞᮔ ᮠᮕᮢᮣᮟᮞᮼ

ᮃᮟᮺ ᯗ ᮤᮟᮟ ᮝᮥᮣᮤ ᮢᮕᮠᮑᮩ ᮤᮘᮑᮤ ᮧᮑᮢᮝ ᮓᮟᮞᮣᮙᮔᮕᮢᮑᮤᮙᮟᮞᮼ

᮸ᯑᮢᮑᮓᮛ—᮸

ᮇᮙᮤᮘᮟᮥᮤ ᮘᮕᮣᮙᮤᮑᮤᮙᮟᮞᮺ ᯗ ᮒᮕᮞᮤ ᮑ ᮖᮙᮞᮗᮕᮢᮼ ᯏᮞᮔ ᮤᮘᮕᮞ ᮑᮞᮟᮤᮘᮕᮢ ᮖᮙᮞᮗᮕᮢᮺ ᮑᮞᮔ ᮑᮞᮟᮤᮘᮕᮢ ᮑᮖᮤᮕᮢ ᮤᮘᮑᮤᮼ

ᯏᮣ ᮑᮜᮜ ᮝᮩ ᮖᮙᮞᮗᮕᮢᮣ ᮒᮢᮟᮛᮕᮺ ᮤᮘᮕ ᮣᮑᮓᮢᮕᮔ ᮜᮙᮗᮘᮤ ᮘᮕᮑᮜᮕᮔ ᮝᮩ ᮘᮑᮞᮔ ᮑᮗᮑᮙᮞᮼ

ᯏᮖᮤᮕᮢ ᮤᮘᮑᮤᮺ ᮙᮤ ᮧᮑᮣ ᮟᮞᮜᮩ ᮑ ᮓᮩᮓᮜᮕ ᮟᮖ ᮢᮕᮠᮕᮤᮙᮤᮙᮟᮞᮼ ᯐᮢᮕᮑᮛᮙᮞᮗᮺ ᮘᮕᮑᮜᮙᮞᮗᮺ ᮒᮢᮕᮑᮛᮙᮞᮗᮺ ᮘᮕᮑᮜᮙᮞᮗᮼ

ᮄᮘᮕ ᮥᮞᮒᮕᮑᮢᮑᮒᮜᮕ ᮠᮑᮙᮞ ᮑᮜᮝᮟᮣᮤ ᮝᮑᮔᮕ ᮝᮕ ᮜᮟᮣᮕ ᮓᮟᮞᮣᮓᮙᮟᮥᮣᮞᮕᮣᮣᮺ ᮒᮥᮤ ᮕᮑᮓᮘ ᮤᮙᮝᮕ ᯗ ᮒᮙᮤ ᮝᮩ ᮤᮟᮞᮗᮥᮕ ᮘᮑᮢᮔ ᮤᮟ ᮢᮕᮗᮑᮙᮞ ᮝᮩ ᮣᮕᮞᮣᮕᮣᮼ

ᯐᮥᮤ ᮕᮦᮕᮞ ᮤᮘᮙᮣ ᮘᮑᮔ ᮙᮤᮣ ᮜᮙᮝᮙᮤᮣᮼ

ᮃᮟᮟᮞᮺ ᮤᮘᮕ ᮑᮢᮕᮑ ᮑᮢᮟᮥᮞᮔ ᮝᮩ ᮝᮟᮥᮤᮘ ᮧᮑᮣ ᮓᮟᮦᮕᮢᮕᮔ ᮙᮞ ᮧᮘᮙᮤᮕ ᮖᮟᮑᮝᮼ ᯛᮩ ᮕᮩᮕᮣᮺ ᮘᮑᮦᮙᮞᮗ ᮑᮜᮢᮕᮑᮔᮩ ᮣᮘᮕᮔ ᮑᮜᮜ ᮤᮘᮕᮙᮢ ᮤᮕᮑᮢᮣᮺ ᮝᮕᮢᮕᮜᮩ ᮒᮥᮢᮞᮕᮔ ᮑᮣ ᮙᮖ ᮣᮓᮟᮢᮓᮘᮕᮔ ᮒᮩ ᮖᮙᮢᮕᮼ

“ᯘᮥᮣᮤ ᮑ ᮜᮙᮤᮤᮜᮕ ᮝᮟᮢᮕᮼᮼᮼ”

ᯐᮥᮤ ᯗ ᮔᮙᮔᮞ᮵ᮤ ᮣᮤᮟᮠᮼ

ᯘᮥᮣᮤ ᮑᮣ ᯗ ᮧᮑᮣ ᮑᮒᮟᮥᮤ ᮤᮟ ᮒᮕᮞᮔ ᮝᮩ ᮖᮙᮞᮗᮕᮢ ᮑᮗᮑᮙᮞᮼ

᮸ᮃᮘᮑᮤᮤᮕᮢᮯ᮸

ᯏ ᮣᮘᮑᮢᮠ ᮣᮟᮥᮞᮔ ᮟᮖ ᮣᮟᮝᮕᮤᮘᮙᮞᮗ ᮒᮢᮕᮑᮛᮙᮞᮗ ᮕᮓᮘᮟᮕᮔ ᮙᮞ ᮤᮘᮕ ᮢᮟᮟᮝᮼ

ᮂᮑᮙᮣᮙᮞᮗ ᮘᮕᮢ ᮘᮕᮑᮔ ᮒᮜᮑᮞᮛᮜᮩᮺ ᮤᮘᮕ ᮧᮟᮝᮑᮞ ᮣᮘᮕ ᮖᮑᮓᮕᮔ ᮧᮑᮣ ᮆᮙᮦᮙᮑᮞᮑᮼ

ᯖᮕᮢ ᮕᮩᮕᮣ ᮤᮢᮕᮝᮒᮜᮙᮞᮗ ᮖᮙᮕᮢᮓᮕᮜᮩ ᮑᮣ ᮣᮘᮕ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᮝᮕᮺ ᮣᮘᮕ ᮣᮟᮟᮞ ᮢᮥᮣᮘᮕᮔ ᮤᮟᮧᮑᮢᮔ ᮝᮕ ᮧᮙᮤᮘ ᮑ ᮠᮑᮜᮕᮺ ᮑᮗᮘᮑᮣᮤ ᮖᮑᮓᮕᮼ

“ᮄᮙᮞᮑᮯᮯᮯ”

Tales of the Taisho Era Flowers Bloom Late

It’s the Taisho era. Noble families who inherited supernatural powers and divine gifts secretly maintain their influence in the shadows, alongside the government. Shino Hanamori, the eldest daughter of the Hanamori family, was born into a prestigious family and descended from Princess Sakuya, but she was scorned as a girl without supernatural powers and lived her life without any recognition of her value by her family or society. Her younger sister, Kasumi, is already engaged to be married to a prestigious family, and the family’s only pride is in her future. Shino spends her days quietly gazing at flowers in the corner of the house. But one spring evening. Sakuya Kuromine, the young head of the Kuromine family, the pinnacle of supernatural power families, appears before Shino. The moment the man, rumored to be ruthless and merciless, set eyes on Shino, he said with one look. “It’s you.” “A late-blooming flower, worthy to be my wife.” The truth about Shino soon becomes clear. She is not without supernatural powers; she simply possesses the powers of a divine flower—a direct descendant of Princess Sakuya—that have yet to blossom. The girl abandoned by the Hanamori family actually possesses the most powerful power in the family’s history. However, her awakening reacts to Sakuya’s raging flames, beginning to shake the balance of the divine family line. Meanwhile, Shidou Kouga, the fiancé of Shino’s younger sister, Kasumi, and descendant of Tsukigitsune, also senses that Shino’s awakening has shaken the shadows, bringing the era of the gods to an end. When the flower of supernatural powers blooms late, the fate of the world begins to change. Bound by divinity and blood, can a girl choose to live a life as a human, not a flower? And what destiny will Shino find in the hand Sakuya holds out to her? This is a Taisho era romance fantasy in which the future is carved out not by strength or lineage, but by the love and lifestyle one chooses for oneself.

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