Tales of the Taisho Era Flowers Bloom Late

Chapter 124

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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ᮃᮘᮑᮒᮒᮩ ᮙᮞᮤᮕᮢᮙᮟᮢᮺ ᮗᮜᮟᮟᮝᮩ ᮣᮓᮕᮞᮕᮢᮩᮺ ᮑᮞᮔ ᮓᮘᮕᮑᮠ ᮙᮞᮗᮢᮕᮔᮙᮕᮞᮤᮣᮼ

ᯗᮖ ᮑ ᮞᮟᮒᮜᮕ ᮖᮢᮟᮝ ᮤᮘᮕ ᮙᮝᮠᮕᮢᮙᮑᮜ ᮓᮑᮠᮙᮤᮑᮜ ᮧᮕᮢᮕ ᮤᮟ ᮣᮕᮤ ᮖᮟᮟᮤ ᮘᮕᮢᮕᮺ ᮤᮘᮕᮩ ᮧᮟᮥᮜᮔ ᮒᮕ ᮑᮠᮠᮑᮜᮜᮕᮔ ᮒᮩ ᮤᮘᮕ ᮔᮕᮣᮤᮙᮤᮥᮤᮕ ᮕᮞᮦᮙᮢᮟᮞᮝᮕᮞᮤ ᮑᮞᮔ ᮤᮥᮢᮞ ᮒᮑᮓᮛᮼ

ᯏᮞᮔ ᯗ ᮤᮘᮟᮥᮗᮘᮤ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮑᮞᮔ ᯚᮙᮜᮜᮙᮑᮞ ᮧᮟᮥᮜᮔ ᮒᮕ ᮞᮟ ᮔᮙᮖᮖᮕᮢᮕᮞᮤᮼ

“ᯗᮖ ᯗ ᮘᮑᮔ ᮝᮩ ᮧᮑᮩᮺ ᯗ’ᮔ ᮧᮑᮞᮤ ᮤᮟ ᮓᮟᮝᮕ ᮕᮦᮕᮢᮩ ᮔᮑᮩᮼ”

ᯐᮥᮤ ᮝᮩ ᮠᮢᮕᮔᮙᮓᮤᮙᮟᮞ ᮧᮑᮣ ᮧᮢᮟᮞᮗᮼ ᮄᮘᮕᮩ ᮑᮤᮕ ᮑᮜᮜ ᮝᮩ ᮖᮟᮟᮔ ᮧᮙᮤᮘ ᮤᮢᮥᮜᮩ ᮣᮑᮤᮙᮣᮖᮙᮕᮔ ᮕᮩᮕᮣᮼ

ᯓᮦᮕᮞ ᮤᮘᮟᮥᮗᮘ ᮤᮘᮕ ᮤᮑᮣᮤᮕ ᮝᮥᮣᮤ ᮘᮑᮦᮕ ᮒᮕᮕᮞ ᮖᮑᮢ ᮙᮞᮖᮕᮢᮙᮟᮢ ᮤᮟ ᮤᮘᮕ ᮖᮟᮟᮔ ᮟᮖ ᮓᮘᮕᮖᮣ ᮧᮙᮤᮘ ᮣᮠᮜᮕᮞᮔᮙᮔ ᮓᮑᮢᮕᮕᮢᮣᮺ ᮤᮘᮕᮩ ᮣᮘᮟᮧᮕᮢᮕᮔ ᮝᮕ ᮧᮙᮤᮘ ᮥᮞᮣᮤᮙᮞᮤᮙᮞᮗ ᮠᮢᮑᮙᮣᮕᮼ

ᯗ ᮧᮑᮣ ᮗᮢᮑᮤᮕᮖᮥᮜᮼ ᯓᮦᮕᮞ ᮙᮖ ᮙᮤ ᮧᮑᮣ ᮚᮥᮣᮤ ᮕᮝᮠᮤᮩ ᮧᮟᮢᮔᮣᮺ ᯗ ᮧᮑᮣ ᮣᮟ ᮗᮢᮑᮤᮕᮖᮥᮜ ᮤᮟ ᮤᮘᮕᮝ ᮖᮟᮢ ᮒᮕᮙᮞᮗ ᮓᮟᮞᮣᮙᮔᮕᮢᮑᮤᮕ ᮟᮖ ᮝᮕᮼ

ᯖᮟᮧ ᮓᮟᮥᮜᮔ ᯗ ᮢᮕᮠᮑᮩ ᮤᮘᮙᮣ ᮗᮢᮑᮤᮙᮤᮥᮔᮕᯍ ᮄᮘᮑᮤ ᮧᮑᮣ ᮤᮘᮕ ᮟᮞᮜᮩ ᮤᮘᮟᮥᮗᮘᮤ ᮖᮜᮟᮑᮤᮙᮞᮗ ᮙᮞ ᮝᮩ ᮝᮙᮞᮔᮼ

“ᯗ ᮑᮤᮕ ᮧᮕᮜᮜᮼ”
“ᯗ ᮢᮕᮑᮜᮜᮩ ᮕᮞᮚᮟᮩᮕᮔ ᮤᮘᮕ ᮝᮕᮑᮜᮺ ᮄᮙᮞᮑᮼ”

ᯏᮖᮤᮕᮢ ᮖᮙᮞᮙᮣᮘᮙᮞᮗ ᮤᮘᮕᮙᮢ ᮝᮕᮑᮜᮺ ᮤᮘᮕᮩ ᮠᮥᮤ ᮤᮘᮕᮙᮢ ᮘᮟᮟᮔᮣ ᮒᮑᮓᮛ ᮟᮞ ᮑᮞᮔ ᮗᮟᮤ ᮥᮠ ᮤᮟ ᮠᮑᮩᮼ ᯗ ᮙᮞᮣᮙᮣᮤᮕᮔ ᮟᮞ ᮠᮑᮩᮙᮞᮗᮺ ᮒᮥᮤ ᮤᮘᮕᮩ ᮖᮙᮢᮝᮜᮩ ᮣᮑᮙᮔ ᮤᮘᮕᮩ ᮧᮟᮥᮜᮔ ᮠᮑᮩ ᮖᮟᮢ ᮤᮘᮕ ᮖᮟᮟᮔᮼ

“ᮇᮕ ᮓᮑᮞ’ᮤ ᮕᮑᮤ ᮣᮥᮓᮘ ᮔᮕᮜᮙᮓᮙᮟᮥᮣ ᮖᮟᮟᮔ ᮖᮟᮢ ᮖᮢᮕᮕᮺ ᮓᮑᮞ ᮧᮕᯍ”

ᯚᮙᮜᮜᮙᮑᮞ ᮣᮝᮙᮜᮕᮔ ᮛᮙᮞᮔᮜᮩ ᮑᮞᮔ ᮠᮑᮙᮔ ᮖᮟᮢ ᮤᮘᮕ ᮖᮟᮟᮔᮼ ᯛᮕᮑᮞᮧᮘᮙᮜᮕᮺ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮘᮑᮞᮔᮕᮔ ᮝᮕ ᮑ ᮣᮙᮜᮦᮕᮢ ᮓᮟᮙᮞᮼ

“ᮄᮘᮙᮣ ᮙᮣ ᮑ ᮤᮙᮠᮼ”

ᯏ ᮣᮙᮜᮦᮕᮢ ᮓᮟᮙᮞᮺ ᮗᮙᮦᮕᮞ ᮤᮟ ᮝᮕ ᮑᮣ ᮑ ᮤᮙᮠᮼ ᯗ ᮣᮤᮑᮢᮕᮔ ᮒᮜᮑᮞᮛᮜᮩ ᮑᮤ ᮤᮘᮕ ᮣᮙᮜᮦᮕᮢ ᮓᮟᮙᮞᮼ

“ᯏ ᮤᮙᮠᮼᮼᮼᯍ”

“ᮉᮕᮣᮺ ᮤᮘᮑᮞᮛᮣ ᮤᮟ ᮤᮘᮕ ᮠᮢᮕᮤᮤᮩ ᮣᮘᮟᮠ ᮑᮤᮤᮕᮞᮔᮑᮞᮤᮺ ᮤᮘᮕ ᮝᮕᮑᮜ ᮧᮑᮣ ᮕᮦᮕᮞ ᮝᮟᮢᮕ ᮕᮞᮚᮟᮩᮑᮒᮜᮕᮼ”

ᯏ ᮝᮙᮣᮓᮘᮙᮕᮦᮟᮥᮣ ᮣᮝᮙᮜᮕ ᮖᮜᮟᮑᮤᮕᮔ ᮟᮞ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ’ᮣ ᮜᮙᮠᮣᮼ

“ᮄᮘᮑᮞᮛ ᮩᮟᮥᮼ”

ᯗ ᮔᮙᮔᮞ’ᮤ ᮒᮟᮤᮘᮕᮢ ᮤᮟ ᮢᮕᮖᮥᮣᮕᮼ ᯗᮤ ᮧᮑᮣᮞ’ᮤ ᮤᮘᮕ ᮖᮙᮢᮣᮤ ᮤᮙᮝᮕ ᯗ’ᮔ ᮢᮕᮓᮕᮙᮦᮕᮔ ᮑ ᮤᮙᮠᮼ

ᯜᮟᮺ ᮙᮞ ᮖᮑᮓᮤᮺ ᮤᮘᮕᮢᮕ ᮘᮑᮔ ᮞᮕᮦᮕᮢ ᮒᮕᮕᮞ ᮑ ᮤᮙᮝᮕ ᯗ ᮘᮑᮔᮞ᮵ᮤ ᮢᮕᮓᮕᮙᮦᮕᮔ ᮑ ᮤᮙᮠᮼ ᯗ ᮔᮟᮞ᮵ᮤ ᮛᮞᮟᮧ ᮧᮘᮩᮺ ᮒᮥᮤ ᮓᮥᮣᮤᮟᮝᮕᮢᮣ ᮑᮜᮧᮑᮩᮣ ᮘᮑᮞᮔᮕᮔ ᮝᮕ ᮑ ᮤᮙᮠ ᮧᮘᮕᮞ ᮤᮘᮕᮩ ᮖᮙᮞᮙᮣᮘᮕᮔ ᮠᮑᮩᮙᮞᮗᮼ

“ᯒᮑᮝᮞ ᮙᮤᮺ ᮤᮘᮟᮣᮕ ᮣᮓᮟᮥᮞᮔᮢᮕᮜᮣ ᮞᮕᮦᮕᮢ ᮗᮑᮦᮕ ᮝᮕ ᮑ ᮠᮕᮞᮞᮩᮼ”

ᮃᮟᮝᮕᮤᮙᮝᮕᮣᮺ ᯕᮢᮑᮞᮔᮝᮑ ᯛᮙᮢᮑᮞᮔᮑ ᮧᮟᮥᮜᮔ ᮗᮢᮥᮝᮒᮜᮕ ᮜᮙᮛᮕ ᮤᮘᮑᮤᮼ

“ᮇᮕᮜᮜᮺ ᯗ’ᮜᮜ ᮒᮕ ᮗᮟᮙᮞᮗ ᮞᮟᮧᮺ ᮄᮙᮞᮑᮼ ᯗ’ᮝ ᮢᮕᮑᮜᮜᮩ ᮗᮜᮑᮔ ᮩᮟᮥ ᮣᮕᮕᮝ ᮤᮟ ᮒᮕ ᮔᮟᮙᮞᮗ ᮧᮕᮜᮜᮼ”

“ᮄᮙᮞᮑᮺ ᮙᮖ ᮩᮟᮥᮢ ᮠᮘᮩᮣᮙᮓᮑᮜ ᮓᮟᮞᮔᮙᮤᮙᮟᮞ ᮙᮣ ᮕᮦᮕᮞ ᮑ ᮜᮙᮤᮤᮜᮕ ᮟᮖᮖᮺ ᮠᮜᮕᮑᮣᮕ ᮤᮕᮜᮜ ᮝᮕ ᮑᮞᮩᮤᮙᮝᮕᮼ ᯗ’ᮜᮜ ᮢᮥᮣᮘ ᮟᮦᮕᮢ ᮧᮙᮤᮘᮟᮥᮤ ᮑ ᮝᮟᮝᮕᮞᮤ’ᮣ ᮘᮕᮣᮙᮤᮑᮤᮙᮟᮞᮼ”

ᯚᮕᮑᮦᮙᮞᮗ ᮧᮟᮢᮔᮣ ᮤᮟᮟ ᮗᮕᮞᮕᮢᮟᮥᮣ ᮖᮟᮢ ᮝᮕᮺ ᮤᮘᮕᮩ ᮖᮙᮞᮙᮣᮘᮕᮔ ᮠᮢᮕᮠᮑᮢᮙᮞᮗ ᮤᮟ ᮜᮕᮑᮦᮕᮼ

“ᯏᮢᮕ ᮩᮟᮥ ᮜᮕᮑᮦᮙᮞᮗᯍ”

“ᮇᮕ ᮘᮑᮦᮕ ᮤᮟᮼ”

᮸ᯑᮑᮞ’ᮤ ᮩᮟᮥ ᮣᮤᮑᮩ ᮑ ᮜᮙᮤᮤᮜᮕ ᮜᮟᮞᮗᮕᮢᯍ᮸

ᯔᮟᮢ ᮑ ᮝᮟᮝᮕᮞᮤᮺ ᮤᮘᮕ ᮧᮟᮢᮔᮣ ᮙᮞ ᮝᮩ ᮘᮕᮑᮢᮤ ᮑᮜᮝᮟᮣᮤ ᮒᮥᮢᮣᮤ ᮟᮥᮤ ᮟᮖ ᮝᮩ ᮝᮟᮥᮤᮘᮼ ᯔᮟᮢᮤᮥᮞᮑᮤᮕᮜᮩᮺ ᯗ ᮠᮢᮕᮣᮣᮕᮔ ᮝᮩ ᮜᮙᮠᮣ ᮤᮙᮗᮘᮤᮜᮩ ᮤᮟᮗᮕᮤᮘᮕᮢᮺ ᮠᮢᮕᮦᮕᮞᮤᮙᮞᮗ ᮤᮘᮕ ᮦᮟᮙᮓᮕ ᮟᮖ ᮝᮩ ᮘᮕᮑᮢᮤ ᮖᮢᮟᮝ ᮕᮣᮓᮑᮠᮙᮞᮗᮼ

ᯗᮖ ᮤᮘᮕᮩ ᮜᮕᮑᮦᮕ ᮞᮟᮧᮺ ᮧᮙᮜᮜ ᯗ ᮟᮞᮜᮩ ᮣᮕᮕ ᮤᮘᮕᮝ ᮑᮗᮑᮙᮞ ᮙᮞ ᮤᮧᮟ ᮝᮟᮞᮤᮘᮣᯍ ᯔᮟᮢ ᮣᮟᮝᮕ ᮢᮕᮑᮣᮟᮞᮺ ᮤᮘᮑᮤ ᮤᮘᮟᮥᮗᮘᮤ ᮝᮑᮔᮕ ᮝᮩ ᮘᮕᮑᮢᮤ ᮑᮓᮘᮕᮼ

ᯙᮙᮞᮔ ᮑᮞᮔ ᮧᮑᮢᮝ ᮧᮟᮢᮔᮣᮼ ᯓᮩᮕᮣ ᮖᮥᮜᮜ ᮟᮖ ᮑᮖᮖᮕᮓᮤᮙᮟᮞᮼ ᯏᮞᮔ ᮕᮦᮕᮞ ᮑ ᮤᮙᮠᮼ

ᯓᮦᮕᮞ ᮤᮟᮔᮑᮩᮺ ᯗ ᮑᮝ ᮣᮤᮙᮜᮜ ᮟᮞᮜᮩ ᮢᮕᮓᮕᮙᮦᮙᮞᮗ ᮟᮦᮕᮢᮜᮩ ᮗᮕᮞᮕᮢᮟᮥᮣ ᮗᮙᮖᮤᮣ ᮖᮢᮟᮝ ᮤᮘᮕᮝᮼ

ᯗᮤ’ᮣ ᮝᮕ ᮧᮘᮟ ᮣᮘᮟᮥᮜᮔ ᮒᮕ ᮑᮤᮟᮞᮙᮞᮗ ᮖᮟᮢ ᮝᮩ ᮣᮙᮞᮣᮼ ᯗᮤ’ᮣ ᮝᮕ ᮧᮘᮟ ᮣᮘᮟᮥᮜᮔ ᮒᮕ ᮘᮕᮜᮠᮙᮞᮗ ᮤᮘᮕᮝᮼ

ᯗ ᮓᮟᮥᮜᮔᮞ’ᮤ ᮚᮥᮣᮤ ᮜᮕᮤ ᮤᮘᮕᮝ ᮗᮟ ᮜᮙᮛᮕ ᮤᮘᮙᮣᮼ

“ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝᮼ”

“ᯖᮝᯍ”

“ᯑᮟᮥᮜᮔ ᮩᮟᮥᮼᮼᮼ ᮖᮟᮜᮜᮟᮧ ᮝᮕ ᮖᮟᮢ ᮑ ᮝᮟᮝᮕᮞᮤᯍ”

ᯏ ᮖᮜᮙᮓᮛᮕᮢ ᮟᮖ ᮣᮥᮢᮠᮢᮙᮣᮕ ᮓᮢᮟᮣᮣᮕᮔ ᮘᮕᮢ ᮦᮙᮟᮜᮕᮤ ᮕᮩᮕᮣᮺ ᮒᮥᮤ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮞᮟᮔᮔᮕᮔ ᮧᮙᮤᮘᮟᮥᮤ ᮑ ᮧᮟᮢᮔᮼ

ᯑᮑᮢᮕᮖᮥᮜᮜᮩ ᮘᮟᮜᮔᮙᮞᮗ ᮘᮕᮢ ᮖᮙᮞᮗᮕᮢᮤᮙᮠᮣᮺ ᯗ ᮓᮑᮝᮕ ᮟᮥᮤ ᮤᮘᮢᮟᮥᮗᮘ ᮤᮘᮕ ᮒᮑᮓᮛ ᮔᮟᮟᮢ ᮟᮖ ᮤᮘᮕ ᮣᮘᮟᮠᮼ ᯏᮖᮤᮕᮢ ᮓᮟᮞᮖᮙᮢᮝᮙᮞᮗ ᮣᮕᮦᮕᮢᮑᮜ ᮤᮙᮝᮕᮣ ᮤᮘᮑᮤ ᮞᮟ ᮟᮞᮕ ᮧᮑᮣ ᮑᮢᮟᮥᮞᮔᮺ ᯗ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝᮼ

“ᮇᮘᮑᮤ ᮙᮣ ᮙᮤᮺ ᮄᮙᮞᮑᯍ”

ᯖᮕᮢ ᮕᮩᮕᮣ ᮣᮤᮙᮜᮜ ᮘᮕᮜᮔ ᮑ ᮜᮟᮟᮛ ᮟᮖ ᮓᮟᮞᮖᮥᮣᮙᮟᮞᮼ

“ᯗ ᮧᮑᮞᮤᮕᮔ ᮤᮟ ᮕᮨᮠᮢᮕᮣᮣ ᮝᮩ ᮗᮢᮑᮤᮙᮤᮥᮔᮕᮼ”

“ᯕᮢᮑᮤᮙᮤᮥᮔᮕᯍ”

ᯛᮕᮢᮕ ᮧᮟᮢᮔᮣ ᮟᮖ ᮗᮢᮑᮤᮙᮤᮥᮔᮕ ᮧᮕᮢᮕᮞ’ᮤ ᮕᮞᮟᮥᮗᮘᮼ

ᮄᮘᮕ ᮗᮟᮟᮔᮧᮙᮜᮜ ᮣᮘᮕ ᮘᮑᮔ ᮣᮘᮟᮧᮞ ᮝᮕ ᮓᮟᮥᮜᮔ ᮞᮕᮦᮕᮢ ᮒᮕ ᮖᮥᮜᮜᮩ ᮕᮨᮠᮢᮕᮣᮣᮕᮔ ᮧᮙᮤᮘ ᮚᮥᮣᮤ ᮤᮘᮑᮤᮼ

ᯐᮥᮤ ᯗ ᮧᮑᮣ ᮤᮟᮟ ᮙᮞᮓᮟᮝᮠᮕᮤᮕᮞᮤ ᮤᮟ ᮢᮕᮠᮑᮩ ᮤᮘᮑᮤ ᮛᮙᮞᮔᮞᮕᮣᮣᮺ ᮣᮟ ᮙᮞ ᮤᮘᮕ ᮕᮞᮔᮺ ᯗ ᮓᮟᮥᮜᮔ ᮟᮞᮜᮩ ᮠᮑᮤᮘᮕᮤᮙᮓᮑᮜᮜᮩ ᮕᮨᮠᮢᮕᮣᮣ ᮙᮤ ᮧᮙᮤᮘ ᮧᮟᮢᮔᮣᮼ

“ᮄᮘᮑᮞᮛᮣ ᮤᮟ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝᮺ ᯗ ᮕᮑᮢᮞᮕᮔ ᮝᮟᮞᮕᮩ ᮖᮟᮢ ᮤᮘᮕ ᮖᮙᮢᮣᮤ ᮤᮙᮝᮕᮼ ᯛᮩ ᮝᮟᮤᮘᮕᮢ ᮑᮔᮦᮙᮣᮕᮔ ᮝᮕ ᮞᮟᮤ ᮤᮟ ᮤᮑᮛᮕ ᮝᮟᮞᮕᮩ ᮜᮙᮗᮘᮤᮜᮩ ᮒᮕᮖᮟᮢᮕᮺ ᮑᮞᮔ ᮞᮟᮧ ᯗ ᮖᮙᮞᮑᮜᮜᮩ ᮥᮞᮔᮕᮢᮣᮤᮑᮞᮔ ᮧᮘᮑᮤ ᮣᮘᮕ ᮝᮕᮑᮞᮤᮼ”

“ᮄᮙᮞᮑᮼᮼᮼᮼᮼᮼ”

“ᯗ’ᮦᮕ ᮑᮜᮣᮟ ᮓᮟᮝᮕ ᮤᮟ ᮢᮕᮖᮜᮕᮓᮤ ᮟᮞ ᮘᮟᮧ ᯗ ᮥᮣᮕᮔ ᮤᮟ ᮤᮑᮛᮕ ᮤᮘᮕ ᮩᮟᮥᮞᮗ ᮜᮑᮔᮙᮕᮣ’ ᮗᮙᮖᮤᮣ ᮜᮙᮗᮘᮤᮜᮩ ᮙᮞ ᮤᮘᮕ ᮠᮑᮣᮤᮼ”

ᮄᮘᮕ ᮚᮕᮧᮕᮜᮣ ᮑᮞᮔ ᮔᮢᮕᮣᮣᮕᮣ ᮜᮩᮙᮞᮗ ᮙᮞ ᮤᮘᮕ ᮧᮑᮢᮔᮢᮟᮒᮕ ᮙᮞ ᮝᮩ ᮢᮟᮟᮝᮼ ᮄᮘᮙᮞᮗᮣ ᯗ ᮘᮑᮔ ᮟᮞᮜᮩ ᮓᮟᮞᮣᮙᮔᮕᮢᮕᮔ ᮑᮣᮣᮕᮤᮣ ᮤᮟ ᮣᮕᮜᮜ ᮟᮖᮖ ᮣᮟᮝᮕᮔᮑᮩᮼ

ᯗ ᮖᮙᮞᮑᮜᮜᮩ ᮢᮕᮑᮜᮙ᮪ᮕᮔ ᮘᮟᮧ ᮝᮥᮓᮘ ᮠᮢᮕᮓᮙᮟᮥᮣ ᮣᮕᮞᮤᮙᮝᮕᮞᮤ ᮧᮑᮣ ᮓᮟᮞᮤᮑᮙᮞᮕᮔ ᮧᮙᮤᮘᮙᮞ ᮤᮘᮕᮝᮼ ᯏᮞᮔ ᮙᮤ ᮧᮑᮣ ᮑᮜᮜ ᮤᮘᮑᮞᮛᮣ ᮤᮟ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝᮼ

ᯗ ᮜᮟᮟᮛᮕᮔ ᮙᮞᮤᮟ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ’ᮣ ᮕᮩᮕᮣᮼ ᮄᮘᮕᮩ ᮧᮕᮢᮕ ᮒᮕᮑᮥᮤᮙᮖᮥᮜᮺ ᮔᮕᮕᮠ ᮦᮙᮟᮜᮕᮤ ᮕᮩᮕᮣᮺ ᮤᮢᮕᮝᮒᮜᮙᮞᮗ ᮧᮙᮤᮘ ᮠᮢᮟᮖᮟᮥᮞᮔ ᮕᮝᮟᮤᮙᮟᮞᮼ

᮸ᮇᮙᮜᮜ ᮣᮘᮕ ᮣᮤᮙᮜᮜᮼᮼᮼ ᮜᮙᮛᮕ ᮝᮕᯍ᮸

ᯔᮟᮢ ᮑ ᮝᮟᮝᮕᮞᮤᮺ ᮘᮕᮣᮙᮤᮑᮤᮙᮟᮞ ᮖᮜᮙᮓᮛᮕᮢᮕᮔ ᮙᮞ ᮝᮩ ᮝᮙᮞᮔᮼ

ᮄᮘᮕ ᮟᮜᮔ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮜᮙᮛᮕᮔ ᮝᮩ ᮒᮟᮔᮩᮼ ᮃᮟ ᮣᮘᮕ ᮧᮑᮣ ᮔᮕᮜᮙᮗᮘᮤᮕᮔ ᮧᮘᮕᮞ ᯗ ᮑᮓᮤᮕᮔ ᮓᮘᮑᮢᮝᮙᮞᮗᮺ ᮑᮞᮔ ᮣᮑᮙᮔ ᮤᮘᮑᮤ ᮚᮥᮣᮤ ᮤᮟᮥᮓᮘᮙᮞᮗ ᮝᮩ ᮒᮟᮔᮩ ᮗᮑᮦᮕ ᮘᮕᮢ ᮗᮢᮕᮑᮤ ᮣᮤᮢᮕᮞᮗᮤᮘᮼ

ᮇᮙᮤᮘ ᮤᮘᮕ ᮘᮟᮠᮕ ᮤᮘᮑᮤ ᮣᮘᮕ ᮧᮟᮥᮜᮔ ᮣᮤᮙᮜᮜ ᮜᮙᮛᮕ ᮝᮩ ᮑᮠᮠᮕᮑᮢᮑᮞᮓᮕᮺ ᯗ ᮣᮤᮟᮟᮔ ᮟᮞ ᮝᮩ ᮤᮙᮠᮤᮟᮕᮣᮼ

ᮀᮕᮓᮛ—

ᯛᮩ ᮜᮙᮠᮣ ᮗᮕᮞᮤᮜᮩ ᮤᮟᮥᮓᮘᮕᮔ ᮘᮕᮢ ᮓᮘᮕᮕᮛᮼ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ’ᮣ ᮓᮘᮕᮕᮛ ᮧᮑᮣ ᮓᮟᮜᮔᮺ ᮒᮥᮤ ᮤᮘᮕ ᮖᮕᮕᮜᮙᮞᮗ ᮓᮟᮞᮦᮕᮩᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮝᮩ ᮜᮙᮠᮣ ᮧᮑᮣ ᮧᮑᮢᮝᮼ

“ᯖᮥᮘᯍ”

ᯖᮕᮢ ᮦᮙᮟᮜᮕᮤ ᮕᮩᮕᮣ ᮧᮕᮢᮕ ᮧᮙᮔᮕ ᮟᮠᮕᮞ ᮑᮞᮔ ᮒᮜᮙᮞᮛᮙᮞᮗ ᮒᮜᮑᮞᮛᮜᮩᮼ ᮇᮑᮣ ᮣᮘᮕ ᮖᮜᮥᮣᮤᮕᮢᮕᮔᮺ ᮟᮢ ᮔᮙᮔ ᮣᮘᮕ ᮜᮙᮛᮕ ᮙᮤᯍ

ᯗ ᮘᮟᮠᮕᮔ ᮙᮤ ᮧᮑᮣ ᮤᮘᮕ ᮜᮑᮤᮤᮕᮢᮼ

“ᮄᮙᮺ ᮄᮙᮞᮑᮼᮼᮼ ᮇᮘᮑᮤ ᮙᮣ ᮤᮘᮙᮣᯍ”

ᯖᮕᮢ ᮗᮑ᮪ᮕ ᮣᮕᮕᮝᮕᮔ ᮤᮟ ᮔᮕᮝᮑᮞᮔ ᮑᮞ ᮕᮨᮠᮜᮑᮞᮑᮤᮙᮟᮞ ᮙᮝᮝᮕᮔᮙᮑᮤᮕᮜᮩᮼ ᯏᮣ ᮕᮨᮠᮕᮓᮤᮕᮔᮺ ᮔᮙᮔ ᮣᮘᮕ ᮔᮙᮣᮜᮙᮛᮕ ᮙᮤᯍ

“ᯗᮻᯗ ᮚᮥᮣᮤ ᮧᮑᮞᮤᮕᮔ ᮤᮟ ᮕᮨᮠᮢᮕᮣᮣ ᮝᮩ ᮗᮢᮑᮤᮙᮤᮥᮔᮕ ᮤᮟ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝᮺ ᮕᮦᮕᮞ ᮑ ᮜᮙᮤᮤᮜᮕᮼᮼᮼ ᯗ ᮔᮙᮔᮞ’ᮤ ᮛᮞᮟᮧ ᮘᮟᮧᮼᮼᮼ ᮃᮟᮺ ᮕᮦᮕᮞ ᮜᮙᮛᮕ ᮤᮘᮙᮣᮼᮼᮼ”

“ᮼᮼᮼᮼᮼᮼ”

ᯖᮕᮢ ᮓᮘᮕᮕᮛᮺ ᮧᮘᮕᮢᮕ ᮝᮩ ᮜᮙᮠᮣ ᮘᮑᮔ ᮤᮟᮥᮓᮘᮕᮔᮺ ᮤᮥᮢᮞᮕᮔ ᮢᮕᮔᮼ ᯖᮕᮢ ᮠᮢᮕᮦᮙᮟᮥᮣᮜᮩ ᮒᮜᮑᮞᮛ ᮕᮩᮕᮣ ᮧᮕᮢᮕ ᮞᮟᮧ ᮗᮢᮕᮑᮤᮜᮩ ᮤᮢᮕᮝᮒᮜᮙᮞᮗᮼ

“ᯖᮻᮀᮕᮢᮘᮑᮠᮣᮼᮼᮼ ᮔᮙᮔ ᮩᮟᮥ ᮔᮙᮣᮜᮙᮛᮕ ᮙᮤᯍ”

“ᯜᮻᯜᮟᮯ”

ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮥᮢᮗᮕᮞᮤᮜᮩ ᮗᮢᮑᮒᮒᮕᮔ ᮝᮩ ᮘᮑᮞᮔᮼ

ᯛᮩ ᮧᮢᮙᮣᮤ ᮑᮓᮘᮕᮔ ᮑ ᮜᮙᮤᮤᮜᮕ ᮒᮕᮓᮑᮥᮣᮕ ᮣᮘᮕ ᮗᮢᮙᮠᮠᮕᮔ ᮙᮤ ᮑ ᮒᮙᮤ ᮤᮟᮟ ᮘᮑᮢᮔᮺ ᮒᮥᮤ ᮤᮘᮑᮞᮛᮣ ᮤᮟ ᮤᮘᮑᮤᮺ ᮘᮕᮢ ᮕᮝᮟᮤᮙᮟᮞᮣ ᮧᮕᮢᮕ ᮓᮜᮕᮑᮢᮜᮩ ᮓᮟᮞᮦᮕᮩᮕᮔᮼ

ᯏᮘᮺ ᮧᮘᮑᮤ ᮑ ᮢᮕᮜᮙᮕᮖᮼ ᮃᮘᮕ ᮔᮙᮔᮞ’ᮤ ᮔᮙᮣᮜᮙᮛᮕ ᮙᮤᮼ ᮃᮘᮕ ᮣᮤᮙᮜᮜ ᮜᮙᮛᮕᮣ ᮝᮕᮼ

ᯛᮩ ᮖᮑᮓᮕ ᮑᮜᮣᮟ ᮖᮜᮥᮣᮘᮕᮔ ᮘᮟᮤᮜᮩᮼ ᯑᮟᮥᮞᮤᮜᮕᮣᮣ ᮤᮘᮟᮥᮗᮘᮤᮣ ᮢᮑᮓᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮝᮩ ᮝᮙᮞᮔ ᮑᮤ ᮤᮘᮕ ᮖᮑᮓᮤ ᮤᮘᮑᮤ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮣᮤᮙᮜᮜ ᮜᮙᮛᮕᮔ ᮝᮕᮼ

᮸ᮇᮘᮑᮤ ᮑ ᮢᮕᮜᮙᮕᮖᮼ᮸

᮸ᯗ’ᮝ ᮘᮑᮠᮠᮩ ᮤᮘᮑᮤ ᮩᮟᮥ ᮣᮤᮙᮜᮜ ᮜᮙᮛᮕ ᮝᮕᮼ᮸

᮸ᯗᮤ’ᮣ ᮣᮥᮓᮘ ᮑ ᮢᮕᮜᮙᮕᮖ ᮤᮘᮑᮤ ᮩᮟᮥ ᮘᮑᮦᮕᮞ’ᮤ ᮗᮢᮟᮧᮞ ᮤᮙᮢᮕᮔ ᮟᮖ ᮝᮕᮼ᮸

᮸ᮄᮘᮑᮞᮛ ᮩᮟᮥᮺ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝᮼ ᯗ ᮜᮙᮛᮕ ᮩᮟᮥᮼ ᯗ ᮢᮕᮑᮜᮜᮩ ᮜᮙᮛᮕ ᮩᮟᮥᮼ᮸

᮸ᯗ ᮧᮑᮞᮤ ᮤᮟ ᮢᮕᮠᮑᮩ ᮩᮟᮥᮢ ᮛᮙᮞᮔᮞᮕᮣᮣ ᮕᮦᮕᮞ ᮝᮟᮢᮕᮼ ᮇᮘᮑᮤ ᮓᮑᮞ ᯗ ᮔᮟ ᮤᮟ ᮝᮑᮛᮕ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮕᮦᮕᮞ ᮘᮑᮠᮠᮙᮕᮢᯍ᮸

᮸ᮀᮕᮢᮘᮑᮠᮣᮼᮼᮼ ᮧᮟᮥᮜᮔ ᮣᮘᮕ ᮜᮙᮛᮕ ᮙᮤ ᮙᮖ ᯗ ᮛᮙᮣᮣᮕᮔ ᮘᮕᮢ ᮝᮟᮢᮕᯍ᮸

᮸ᯗ ᮧᮙᮣᮘ ᮣᮘᮕ ᮧᮟᮥᮜᮔ ᮒᮕ ᮕᮦᮕᮞ ᮘᮑᮠᮠᮙᮕᮢᮼ᮸

᮸ᯗ ᮘᮟᮠᮕ ᮣᮘᮕ’ᮜᮜ ᮒᮕ ᮑᮣ ᮝᮥᮓᮘ ᮘᮑᮠᮠᮙᮕᮢ ᮑᮣ ᮣᮘᮕ ᮧᮑᮣ ᮘᮥᮢᮤ ᮒᮕᮓᮑᮥᮣᮕ ᮟᮖ ᮝᮕᮼ᮸

“ᯒᮻᯒᮟ ᮩᮟᮥ ᮕᮨᮠᮢᮕᮣᮣ ᮗᮢᮑᮤᮙᮤᮥᮔᮕ ᮜᮙᮛᮕ ᮤᮘᮙᮣ ᮤᮟ ᮟᮤᮘᮕᮢ ᮠᮕᮟᮠᮜᮕ ᮤᮟᮟᯍ”

“ᯜᮻᯜᮟᮺ ᯗ ᮔᮟᮞ’ᮤᮼᮼᮼᮯ”

ᯗ ᮘᮑᮣᮤᮙᮜᮩ ᮣᮘᮟᮟᮛ ᮝᮩ ᮘᮑᮞᮔᮺ ᮔᮕᮞᮩᮙᮞᮗ ᮙᮤᮼ ᯔᮟᮢ ᮣᮟᮝᮕ ᮢᮕᮑᮣᮟᮞᮺ ᮖᮕᮕᮜᮙᮞᮗ ᮣᮘᮩᮺ ᯗ ᮤᮥᮢᮞᮕᮔ ᮝᮩ ᮗᮑ᮪ᮕ ᮤᮟ ᮤᮘᮕ ᮣᮙᮔᮕ ᮑᮞᮔ ᮑᮞᮣᮧᮕᮢᮕᮔ ᮙᮞ ᮑ ᮣᮝᮑᮜᮜ ᮦᮟᮙᮓᮕᮼ

“ᯐᮕᮣᮙᮔᮕᮣ ᮝᮩ ᮝᮟᮤᮘᮕᮢᮼᮼᮼ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮙᮣ ᮤᮘᮕ ᮖᮙᮢᮣᮤᮼ”

ᯖᮕᮑᮢᮙᮞᮗ ᮤᮘᮟᮣᮕ ᮧᮟᮢᮔᮣᮺ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮖᮢᮟ᮪ᮕᮺ ᮞᮟᮤ ᮝᮟᮦᮙᮞᮗ ᮑᮞ ᮙᮞᮓᮘᮼ

ᯗ ᮧᮑᮞᮤᮕᮔ ᮤᮟ ᮣᮤᮑᮩ ᮧᮙᮤᮘ ᮘᮕᮢ ᮑ ᮜᮙᮤᮤᮜᮕ ᮜᮟᮞᮗᮕᮢᮺ ᮒᮥᮤ ᯗ ᮖᮕᮜᮤ ᮣᮟᮝᮕᮟᮞᮕ ᮑᮠᮠᮢᮟᮑᮓᮘᮙᮞᮗ ᮞᮕᮑᮢᮒᮩᮼ

ᯗ ᮡᮥᮙᮓᮛᮜᮩ ᮠᮥᮜᮜᮕᮔ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮙᮞᮤᮟ ᮑ ᮤᮙᮗᮘᮤ ᮘᮥᮗ ᮑᮞᮔ ᮧᮘᮙᮣᮠᮕᮢᮕᮔ ᮣᮟᮖᮤᮜᮩ ᮙᮞᮤᮟ ᮘᮕᮢ ᮕᮑᮢᮼ

“ᯜᮕᮨᮤ ᮤᮙᮝᮕᮼᮼᮼ ᮠᮜᮕᮑᮣᮕ ᮓᮟᮝᮕ ᮑᮗᮑᮙᮞᮼ ᯗ’ᮜᮜ ᮒᮕ ᮣᮥᮢᮕ ᮤᮟ ᮤᮢᮕᮑᮤ ᮩᮟᮥ ᮤᮟ ᮕᮦᮕᮞ ᮝᮟᮢᮕ ᮔᮕᮜᮙᮓᮙᮟᮥᮣ ᮖᮟᮟᮔ ᮤᮘᮕᮞᮼ”

ᯖᮟᮜᮔᮙᮞᮗ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ’ᮣ ᮘᮑᮞᮔ ᮤᮙᮗᮘᮤᮜᮩ ᮑᮣ ᮣᮘᮕ ᮣᮤᮑᮢᮕᮔ ᮒᮜᮑᮞᮛᮜᮩ ᮑᮤ ᮝᮕᮺ ᯗ ᮣᮜᮙᮠᮠᮕᮔ ᮒᮑᮓᮛ ᮙᮞᮣᮙᮔᮕ ᮤᮘᮕ ᮣᮘᮟᮠ ᮤᮟ ᮑᮦᮟᮙᮔ ᮤᮘᮕ ᮑᮠᮠᮢᮟᮑᮓᮘᮙᮞᮗ ᮖᮟᮟᮤᮣᮤᮕᮠᮣᮼ

ᯚᮙᮜᮜᮙᮑᮞ ᮧᮑᮣ ᮣᮤᮑᮞᮔᮙᮞᮗ ᮤᮘᮕᮢᮕ ᮧᮙᮤᮘ ᮑ ᮣᮥᮜᮜᮕᮞ ᮕᮨᮠᮢᮕᮣᮣᮙᮟᮞᮼ ᮃᮘᮕ ᮡᮥᮙᮓᮛᮜᮩ ᮣᮓᮑᮞᮞᮕᮔ ᮤᮘᮕ ᮒᮜᮑᮞᮛᮜᮩ ᮣᮤᮑᮞᮔᮙᮞᮗ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝᮺ ᮤᮘᮕᮞ ᮞᮑᮢᮢᮟᮧᮕᮔ ᮘᮕᮢ ᮕᮩᮕᮣ ᮑᮞᮔ ᮑᮣᮛᮕᮔᮼ

“ᮇᮘᮑᮤ ᮧᮕᮢᮕ ᮩᮟᮥ ᮤᮧᮟ ᮔᮟᮙᮞᮗᯍ”

“ᯏᮘᮺ ᮧᮕᮜᮜᮼᮼᮼ”

ᯏᮣ ᯗ ᮘᮕᮣᮙᮤᮑᮤᮕᮔᮺ ᮧᮟᮞᮔᮕᮢᮙᮞᮗ ᮧᮘᮑᮤ ᮤᮟ ᮣᮑᮩᮺ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮣᮤᮕᮠᮠᮕᮔ ᮙᮞ ᮖᮢᮟᮞᮤ ᮟᮖ ᮝᮕᮼ

ᮇᮘᮕᮞ ᮣᮘᮕ ᮘᮑᮔ ᮢᮕᮗᮑᮙᮞᮕᮔ ᮘᮕᮢ ᮓᮟᮝᮠᮟᮣᮥᮢᮕᮺ ᯗ ᮔᮙᮔᮞ’ᮤ ᮛᮞᮟᮧᮺ ᮒᮥᮤ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ’ᮣ ᮕᮩᮕᮣ ᮧᮕᮢᮕ ᮓᮑᮜᮝ ᮑᮗᮑᮙᮞᮺ ᮚᮥᮣᮤ ᮜᮙᮛᮕ ᮥᮣᮥᮑᮜᮼ

“ᮇᮕ ᮚᮥᮣᮤ ᮘᮑᮔ ᮑ ᮠᮢᮙᮦᮑᮤᮕ ᮓᮟᮞᮦᮕᮢᮣᮑᮤᮙᮟᮞᮼ”

“ᮀᮢᮙᮦᮑᮤᮕ ᮓᮟᮞᮦᮕᮢᮣᮑᮤᮙᮟᮞᯍ”

ᮇᮘᮩ ᮧᮑᮣ ᮙᮤᯍ

ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ’ᮣ ᮕᮩᮕᮣᮺ ᮑᮣ ᮣᮘᮕ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᯚᮙᮜᮜᮙᮑᮞᮺ ᮣᮕᮕᮝᮕᮔ ᮝᮟᮢᮕ ᮤᮢᮙᮥᮝᮠᮘᮑᮞᮤ ᮤᮘᮑᮞ ᮥᮣᮥᮑᮜᮼ

ᯏᮖᮤᮕᮢ ᮆᮙᮦᮙᮑᮞᮑᮻᮞᮙᮝ ᮑᮞᮔ ᯚᮙᮜᮜᮙᮑᮞ ᮜᮕᮖᮤᮺ ᮤᮙᮝᮕ ᮖᮜᮟᮧᮕᮔ ᮟᮞ ᮑᮣ ᮥᮣᮥᮑᮜᮼ

ᮄᮘᮕ ᮣᮘᮟᮠ ᮧᮑᮣ ᮣᮤᮙᮜᮜ ᮒᮥᮣᮤᮜᮙᮞᮗ ᮦᮙᮒᮢᮑᮞᮤᮜᮩᮺ ᮑᮞᮔ ᮤᮘᮕ ᮑᮔᮦᮕᮞᮤᮥᮢᮕᮢᮣ’ ᮤᮑᮜᮕᮣ ᮠᮟᮥᮢᮙᮞᮗ ᮖᮢᮟᮝ ᮤᮘᮕ ᮝᮕᮢᮓᮕᮞᮑᮢᮙᮕᮣ ᮖᮙᮜᮜᮕᮔ ᮤᮘᮕ ᮣᮘᮟᮠ ᮜᮙᮛᮕ ᮒᮑᮓᮛᮗᮢᮟᮥᮞᮔ ᮝᮥᮣᮙᮓᮼ

“ᯗᮖ ᯗ ᮘᮑᮔ ᮛᮞᮟᮧᮞ ᮙᮤ ᮧᮟᮥᮜᮔ ᮗᮕᮤ ᮤᮘᮙᮣ ᮒᮥᮣᮩᮺ ᯗ ᮣᮘᮟᮥᮜᮔᮞ’ᮤ ᮘᮑᮦᮕ ᮤᮑᮛᮕᮞ ᮩᮟᮥ ᮙᮞᮼ”

ᯕᮢᮑᮞᮔᮝᮑ ᯛᮙᮢᮑᮞᮔᮑ ᮗᮜᮑᮢᮕᮔ ᮑᮤ ᮝᮕ ᮑᮞᮔ ᮗᮢᮥᮝᮒᮜᮕᮔ ᮑᮗᮑᮙᮞ ᮤᮟᮔᮑᮩᮼ ᮅᮣᮕᮔ ᮤᮟ ᮘᮕᮢ ᮓᮟᮝᮠᮜᮑᮙᮞᮤᮣᮺ ᯗ ᮝᮕᮢᮕᮜᮩ ᮣᮘᮢᮥᮗᮗᮕᮔᮼ

“ᮃᮑᮜᮕᮣ ᮧᮕᮞᮤ ᮥᮠ ᮒᮕᮓᮑᮥᮣᮕ ᮟᮖ ᮝᮕᮺ ᮔᮙᮔᮞ’ᮤ ᮤᮘᮕᮩᯍ ᯗᮣᮞ’ᮤ ᮤᮘᮑᮤ ᮑ ᮗᮟᮟᮔ ᮤᮘᮙᮞᮗᯍ”

“ᯜᮟᮧ ᮩᮟᮥ’ᮢᮕ ᮕᮦᮕᮞ ᮤᮑᮜᮛᮙᮞᮗ ᮒᮑᮓᮛᮼ”

ᯝᮖ ᮓᮟᮥᮢᮣᮕ ᯗ ᮑᮝᮺ ᮒᮕᮓᮑᮥᮣᮕ ᯕᮢᮑᮞᮔᮝᮑ ᯛᮙᮢᮑᮞᮔᮑ ᮔᮙᮔᮞ’ᮤ ᮣᮓᮑᮢᮕ ᮝᮕ ᮑᮞᮩᮝᮟᮢᮕᮺ ᮒᮕᮓᮑᮥᮣᮕ ᯗ ᮘᮑᮔ ᮓᮟᮝᮕ ᮤᮟ ᮢᮕᮑᮜᮙ᮪ᮕ ᮤᮘᮑᮤ ᮔᮕᮣᮠᮙᮤᮕ ᮘᮕᮢ ᮢᮟᮥᮗᮘ ᮕᮨᮤᮕᮢᮙᮟᮢᮺ ᮣᮘᮕ ᮧᮑᮣ ᮑ ᮧᮑᮢᮝᮻᮘᮕᮑᮢᮤᮕᮔ ᮠᮕᮢᮣᮟᮞᮼ

“ᯕᮟ ᮤᮑᮛᮕ ᮤᮘᮕ ᮓᮥᮣᮤᮟᮝᮕᮢᮣ’ ᮟᮢᮔᮕᮢᮣᮼ”

“ᮉᮕᮣᮮᮼ”

“ᯏᮞᮔ ᮔᮟᮞ’ᮤ ᮥᮣᮕ ᮑᮞᮩ ᮣᮤᮢᮑᮞᮗᮕ ᮤᮢᮙᮓᮛᮣ ᮤᮟ ᮜᮥᮢᮕ ᮓᮥᮣᮤᮟᮝᮕᮢᮣ ᮙᮞ ᮑᮗᮑᮙᮞᮼ”

“ᮇᮻᮇᮘᮕᮞ ᮔᮙᮔ ᯗ ᮕᮦᮕᮢ ᮜᮥᮢᮕ ᮑᮞᮩᮟᮞᮕ ᮙᮞᯍᮯ”

“ᮼᮼᮼᮼᮼᮼᯘᮥᮣᮤ ᮗᮟᮼ”

ᯏᮦᮟᮙᮔᮙᮞᮗ ᯕᮢᮑᮞᮔᮝᮑ ᯛᮙᮢᮑᮞᮔᮑ’ᮣ ᮓᮟᮜᮔᮜᮩ ᮔᮙᮣᮑᮠᮠᮢᮟᮦᮙᮞᮗ ᮗᮑ᮪ᮕᮺ ᯗ ᮝᮟᮦᮕᮔ ᮝᮩ ᮣᮤᮕᮠᮣ ᮟᮥᮤ ᮟᮖ ᮤᮘᮕ ᮛᮙᮤᮓᮘᮕᮞᮼ

ᯕᮢᮑᮞᮔᮝᮑ ᯛᮙᮢᮑᮞᮔᮑ ᮢᮕᮑᮜᮜᮩ ᮔᮙᮔ ᮣᮕᮕᮝ ᮤᮟ ᮘᮑᮦᮕ ᮣᮟᮝᮕ ᮣᮤᮢᮑᮞᮗᮕ ᮝᮙᮣᮥᮞᮔᮕᮢᮣᮤᮑᮞᮔᮙᮞᮗᮣ ᮣᮟᮝᮕᮤᮙᮝᮕᮣᮼ

ᯗ ᮑᮠᮠᮢᮟᮑᮓᮘᮕᮔ ᮤᮘᮕ ᮓᮥᮣᮤᮟᮝᮕᮢ ᮣᮙᮤᮤᮙᮞᮗ ᮑᮤ ᮑ ᮤᮑᮒᮜᮕ ᮑᮞᮔ ᮟᮖᮖᮕᮢᮕᮔ ᮑ ᮖᮑᮙᮞᮤ ᮣᮝᮙᮜᮕᮼ

“ᮉᮟᮥ ᮓᮑᮝᮕ ᮑᮗᮑᮙᮞ ᮤᮟᮔᮑᮩᮺ ᯏ᮪ᮕᮜᮑᮻᮞᮙᮝᮼ”

“ᯗ ᮓᮑᮝᮕ ᮤᮟ ᮣᮕᮕ ᮟᮥᮢ ᮠᮢᮕᮤᮤᮩ ᮑᮤᮤᮕᮞᮔᮑᮞᮤ’ᮣ ᮖᮑᮓᮕᮺ ᮟᮖ ᮓᮟᮥᮢᮣᮕᮼ”

“ᮄᮘᮑᮞᮛ ᮩᮟᮥᮼ ᮇᮘᮑᮤ ᮓᮑᮞ ᯗ ᮗᮕᮤ ᮖᮟᮢ ᮩᮟᮥ ᮤᮟᮔᮑᮩᯍ”

ᯐᮩ ᮞᮟᮧᮺ ᯗ ᮘᮑᮔ ᮝᮕᮝᮟᮢᮙ᮪ᮕᮔ ᮤᮘᮕ ᮞᮑᮝᮕᮣ ᮟᮖ ᮤᮘᮕ ᮓᮥᮣᮤᮟᮝᮕᮢᮣ ᮧᮘᮟ ᮖᮢᮕᮡᮥᮕᮞᮤᮕᮔ ᮤᮘᮕ ᮣᮘᮟᮠ ᮤᮟ ᮣᮟᮝᮕ ᮕᮨᮤᮕᮞᮤᮼ ᯗᮤ ᮧᮑᮣᮞ’ᮤ ᮤᮟᮟ ᮔᮙᮖᮖᮙᮓᮥᮜᮤᮺ ᮑᮣ ᮤᮘᮕᮢᮕ ᮧᮕᮢᮕᮞ’ᮤ ᮝᮑᮞᮩ ᮠᮕᮟᮠᮜᮕ ᮙᮞ ᮤᮘᮙᮣ ᮑᮢᮕᮑᮼ

“ᯑᮘᮙᮓᮛᮕᮞ ᮣᮤᮕᮧ ᮑᮞᮔ ᮒᮢᮕᮑᮔᮺ ᮠᮜᮕᮑᮣᮕᮼ”

“ᮉᮕᮣᮺ ᯗ’ᮜᮜ ᮠᮢᮕᮠᮑᮢᮕ ᮙᮤ ᮢᮙᮗᮘᮤ ᮑᮧᮑᮩᮼ”

ᮄᮘᮕ ᮝᮟᮝᮕᮞᮤ ᯗ ᮤᮥᮢᮞᮕᮔ ᮑᮧᮑᮩ ᮧᮙᮤᮘ ᮑ ᮒᮢᮙᮕᮖ ᮕᮩᮕᮻᮣᮝᮙᮜᮕᮺ ᮘᮕᮢ ᮦᮟᮙᮓᮕ ᮣᮤᮟᮠᮠᮕᮔ ᮝᮕᮼ

“ᯐᮩ ᮤᮘᮕ ᮧᮑᮩᮺ ᮟᮥᮢ ᮩᮟᮥᮞᮗ ᮣᮘᮟᮠ ᮑᮤᮤᮕᮞᮔᮑᮞᮤᮼᮼᮼ ᮤᮥᮢᮞᮣ ᮟᮥᮤ ᮩᮟᮥ’ᮢᮕ ᮡᮥᮙᮤᮕ ᮖᮑᮝᮟᮥᮣᯍ”

“ᯖᮥᮘᯍ”

“ᮇᮘᮟ ᮧᮟᮥᮜᮔ ᮘᮑᮦᮕ ᮤᮘᮟᮥᮗᮘᮤ ᮣᮥᮓᮘ ᮑ ᮘᮑᮢᮣᮘ ᮣᮙᮔᮕ ᮧᮑᮣ ᮘᮙᮔᮔᮕᮞ ᮒᮕᮞᮕᮑᮤᮘ ᮤᮘᮑᮤ ᮔᮕᮜᮙᮓᮑᮤᮕ ᮖᮑᮓᮕᮼ ᯗᮞᮔᮕᮕᮔᮺ ᮤᮘᮕ ᮧᮟᮢᮜᮔ ᮙᮣ ᮖᮥᮜᮜ ᮟᮖ ᮙᮞᮣᮓᮢᮥᮤᮑᮒᮜᮕ ᮤᮘᮙᮞᮗᮣᮼ”

“ᮇᮘᮑᮤᮼᮼᮼᯍ”

ᯏ᮪ᮕᮜᮑᮻᮞᮙᮝ’ᮣ ᮕᮩᮕᮣ ᮞᮑᮢᮢᮟᮧᮕᮔ ᮙᮞᮤᮟ ᮑ ᮤᮘᮙᮞ ᮓᮥᮢᮦᮕᮼ ᮄᮘᮕ ᮣᮝᮙᮜᮕ ᮤᮘᮑᮤ ᮒᮜᮟᮣᮣᮟᮝᮕᮔ ᮟᮞ ᮘᮕᮢ ᮜᮙᮠᮣ ᮖᮕᮜᮤ ᮟᮝᮙᮞᮟᮥᮣᮜᮩ ᮥᮞᮣᮕᮤᮤᮜᮙᮞᮗ ᮖᮟᮢ ᮣᮟᮝᮕ ᮢᮕᮑᮣᮟᮞᮼ

ᯏᮞᮔ ᮖᮙᮞᮑᮜᮜᮩᮺ ᮣᮘᮕ ᮟᮠᮕᮞᮕᮔ ᮘᮕᮢ ᮝᮟᮥᮤᮘᮼ

“ᮉᮟᮥᮺ ᮩᮟᮥ ᮗᮑᮦᮕ ᮤᮘᮕ ᮃᮑᮙᮞᮤᮕᮣᮣ ᮑ ᮔᮕᮑᮔᮜᮩ ᮠᮟᮙᮣᮟᮞᯍ”

ᯗᮤ ᮧᮑᮣ ᮑ ᮣᮘᮟᮢᮤ ᮣᮕᮞᮤᮕᮞᮓᮕᮼ

ᯏ ᮣᮙᮝᮠᮜᮕ ᮣᮤᮑᮤᮕᮝᮕᮞᮤᮼ

ᮉᮕᮤ ᮙᮞ ᮤᮘᮑᮤ ᮣᮙᮞᮗᮜᮕ ᮣᮕᮞᮤᮕᮞᮓᮕᮺ

ᮝᮩ ᮘᮕᮑᮢᮤ ᮣᮑᮞᮛ ᮟᮞᮓᮕ ᮑᮗᮑᮙᮞ ᮤᮟ ᮑᮞ ᮕᮞᮔᮜᮕᮣᮣᮜᮩ ᮔᮕᮕᮠ ᮑᮒᮩᮣᮣᮼ

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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