Tales of the Taisho Era Flowers Bloom Late

Chapter 15

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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‘ᯖᮥᮘᮺ ᮜᮟᮟᮛ ᮑᮤ ᮤᮘᮑᮤᯍ’

ᮆᮙᮦᮙᮑᮞᮑ’ᮣ ᮠᮥᮢᮠᮜᮕ ᮕᮩᮕᮣ ᮢᮙᮠᮠᮜᮕᮔ ᮧᮙᮤᮘ ᮑᮣᮤᮟᮞᮙᮣᮘᮝᮕᮞᮤᮼ ᯖᮕᮢ ᮗᮑ᮪ᮕ ᮧᮑᮣ ᮖᮙᮨᮕᮔ ᮟᮞ ᮑ ᮒᮕᮑᮥᮤᮙᮖᮥᮜ ᮗᮙᮢᮜ ᮧᮙᮤᮘ ᮠᮥᮢᮕ ᮧᮘᮙᮤᮕ ᮘᮑᮙᮢᮺ ᮧᮘᮟ ᮣᮑᮤ ᮣᮜᮥᮝᮠᮕᮔ ᮟᮞ ᮤᮘᮕ ᮖᮜᮟᮟᮢᮺ ᮣᮘᮕᮔᮔᮙᮞᮗ ᮣᮟᮢᮢᮟᮧᮖᮥᮜ ᮤᮕᮑᮢᮣᮼ

ᯏ ᮘᮟᮜᮜᮟᮧ ᮜᮑᮥᮗᮘ ᮕᮣᮓᮑᮠᮕᮔ ᮘᮕᮢ ᮜᮙᮠᮣᮼ ᯝᮤᮘᮕᮢᮣ ᮝᮙᮗᮘᮤ ᮘᮑᮦᮕ ᮝᮙᮣᮣᮕᮔ ᮙᮤᮼ ᯐᮥᮤ ᮒᮕᮓᮑᮥᮣᮕ ᮣᮘᮕ ᮘᮑᮔ ᮒᮕᮕᮞ ᮧᮑᮤᮓᮘᮙᮞᮗ ᮤᮘᮕ ᮗᮙᮢᮜ ᮖᮢᮟᮝ ᮤᮘᮕ ᮝᮟᮝᮕᮞᮤ ᮣᮘᮕ ᮕᮞᮤᮕᮢᮕᮔ ᮤᮘᮕ ᮒᮑᮞᮡᮥᮕᮤ ᮘᮑᮜᮜᮺ ᮆᮙᮦᮙᮑᮞᮑ ᮒᮑᮢᮕᮜᮩ ᮝᮑᮞᮑᮗᮕᮔ ᮤᮟ ᮔᮕᮤᮕᮓᮤ ᮤᮘᮕ ᮓᮘᮑᮞᮗᮕ ᮙᮞ ᮤᮘᮑᮤ ᮖᮜᮕᮕᮤᮙᮞᮗ ᮝᮟᮝᮕᮞᮤᮼ

ᯓᮦᮕᮞ ᮣᮘᮕᮺ ᮧᮙᮤᮘ ᮣᮕᮞᮣᮕᮣ ᮑᮣ ᮣᮘᮑᮢᮠ ᮑᮣ ᮑ ᮣᮧᮟᮢᮔ ᮘᮟᮞᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮓᮟᮥᮞᮤᮜᮕᮣᮣ ᮘᮟᮥᮢᮣ ᮟᮖ ᮤᮢᮑᮙᮞᮙᮞᮗᮺ ᮒᮑᮢᮕᮜᮩ ᮞᮟᮤᮙᮓᮕᮔ ᮤᮘᮕ ᮣᮥᮒᮤᮜᮕ ᮣᮘᮙᮖᮤᮺ ᮣᮟ ᮑ ᮞᮟᮢᮝᮑᮜ ᮠᮕᮢᮣᮟᮞ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮘᮑᮦᮕ ᮞᮟᮤᮙᮓᮕᮔ ᮙᮤ ᮑᮤ ᮑᮜᮜᮼ

‘ᮃᮘᮕ ᮧᮑᮣ ᮓᮜᮕᮑᮢᮜᮩ ᮘᮑᮠᮠᮩ ᮚᮥᮣᮤ ᮑ ᮝᮟᮝᮕᮞᮤ ᮑᮗᮟᮼ’

“ᮇᮘᮑᮤ ᮑᮢᮕ ᮩᮟᮥ ᮜᮟᮟᮛᮙᮞᮗ ᮑᮤᮺ ᯚᮑᮔᮩ ᮆᮙᮦᮙᮑᮞᮑᯍ”

ᯏ ᮗᮕᮞᮤᮜᮕᮺ ᮒᮕᮑᮥᮤᮙᮖᮥᮜ ᮦᮟᮙᮓᮕ ᮟᮞᮓᮕ ᮑᮗᮑᮙᮞ ᮣᮤᮢᮑᮙᮗᮘᮤᮕᮞᮕᮔ ᮘᮕᮢ ᮗᮑ᮪ᮕ ᮖᮟᮢᮧᮑᮢᮔᮼ ᮂᮑᮔᮙᮑᮞᮤ ᮧᮘᮙᮤᮕ ᮘᮑᮙᮢ ᮑᮞᮔ ᮞᮟᮒᮜᮕ ᮗᮟᮜᮔᮕᮞ ᮕᮩᮕᮣᮺ ᮜᮙᮛᮕ ᮤᮘᮕ ᮣᮥᮞᮺ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᮘᮕᮢᮺ ᮤᮙᮞᮗᮕᮔ ᮧᮙᮤᮘ ᮒᮕᮧᮙᮜᮔᮕᮢᮝᮕᮞᮤᮼ

“ᯛᮩ ᮑᮠᮟᮜᮟᮗᮙᮕᮣᮺ ᮀᮢᮙᮞᮓᮕᮣᮣᮻᮞᮙᮝᮼ ᯛᮩ ᮑᮤᮤᮕᮞᮤᮙᮟᮞ ᮧᮑᮣ ᮔᮢᮑᮧᮞ ᮑᮧᮑᮩ ᮒᮩ ᮑ ᮣᮜᮙᮗᮘᮤ ᮓᮟᮝᮝᮟᮤᮙᮟᮞᮼ”

“ᯖᮥᮘᮥᮺ ᮣᮥᮓᮘ ᮓᮟᮝᮝᮟᮤᮙᮟᮞᮣ ᮑᮢᮕ ᮓᮟᮝᮝᮟᮞᮠᮜᮑᮓᮕ ᮙᮞ ᮘᮙᮗᮘ ᮣᮟᮓᮙᮕᮤᮩᮼ”

ᮄᮘᮕ ᮄᮘᮙᮢᮔ ᮀᮢᮙᮞᮓᮕᮣᮣ ᯏᮣᮤᮕᮜᮜᮑᮼ ᮃᮘᮕ ᮜᮟᮟᮛᮕᮔ ᮥᮠ ᮑᮤ ᮆᮙᮦᮙᮑᮞᮑ ᮧᮙᮤᮘ ᮑᮞ ᮥᮞᮓᮟᮞᮓᮕᮢᮞᮕᮔ ᮣᮝᮙᮜᮕᮺ ᮗᮑ᮪ᮙᮞᮗ ᮑᮤ ᮤᮘᮕ ᮓᮟᮝᮝᮟᮤᮙᮟᮞ ᮙᮞ ᮤᮘᮕ ᮘᮑᮜᮜᮼ

“ᯐᮩ ᮤᮘᮕ ᮧᮑᮩᮺ ᯗ ᮤᮢᮥᮜᮩ ᮔᮙᮔᮞ’ᮤ ᮕᮨᮠᮕᮓᮤ ᮉᮟᮥᮢ ᯚᮑᮔᮩᮣᮘᮙᮠ ᮤᮟ ᮑᮤᮤᮕᮞᮔ ᮟᮞ ᮤᮘᮕ ᮣᮕᮓᮟᮞᮔ ᮔᮑᮩᮼ ᯗ’ᮝ ᮤᮟᮥᮓᮘᮕᮔᮼ”

“ᯔᮟᮢ ᮣᮟᮝᮕᮟᮞᮕ ᮧᮙᮤᮘ ᮧᮘᮟᮝ ᯗ ᮧᮙᮜᮜ ᮠᮥᮢᮣᮥᮕ ᮓᮟᮝᮝᮟᮞ ᮗᮟᮑᮜᮣ ᮙᮞ ᮤᮘᮕ ᮖᮥᮤᮥᮢᮕᮺ ᮤᮘᮙᮣ ᮝᮥᮓᮘ ᮕᮖᮖᮟᮢᮤ ᮙᮣ ᮞᮟᮤᮘᮙᮞᮗᮼ”

“ᯝᮘ ᮝᮩᮺ ᮘᮥᮘᮥ…”

ᯏᮜᮤᮘᮟᮥᮗᮘ ᮣᮘᮕ ᮣᮑᮙᮔ ᮤᮘᮙᮣᮺ ᮤᮘᮕ ᮢᮕᮑᮜ ᮢᮕᮑᮣᮟᮞ ᮣᮘᮕ ᮓᮑᮝᮕ ᮧᮑᮣ ᮞᮟᮤ ᮖᮟᮢ ᮤᮘᮕ ᮀᮢᮙᮞᮓᮕᮣᮣᮻᮞᮙᮝᮼ ᮄᮘᮕ ᮒᮥᮤᮤᮟᮓᮛᮣᮺ ᮑᮣ ᮧᮘᮙᮤᮕ ᮑᮣ ᮣᮞᮟᮧ ᮑᮞᮔ ᮑᮣ ᮣᮝᮟᮟᮤᮘ ᮑᮣ ᮑ ᮢᮙᮓᮕ ᮓᮑᮛᮕᮺ ᮧᮘᮙᮓᮘ ᮣᮘᮕ ᮘᮑᮔ ᮣᮕᮕᮞ ᮑᮤ ᮤᮘᮕ ᮠᮢᮕᮦᮙᮟᮥᮣ ᮒᮑᮞᮡᮥᮕᮤᮺ ᮛᮕᮠᮤ ᮒᮟᮤᮘᮕᮢᮙᮞᮗ ᮘᮕᮢᮼ ᮃᮘᮕ ᮔᮙᮔᮞ᮵ᮤ ᮛᮞᮟᮧ ᮧᮘᮩᮺ ᮒᮥᮤ ᮤᮘᮟᮣᮕ ᮒᮥᮤᮤᮟᮓᮛᮣ ᮘᮑᮔ ᮢᮕᮝᮑᮙᮞᮕᮔ ᮙᮞ ᮘᮕᮢ ᮝᮙᮞᮔ ᮣᮙᮞᮓᮕ ᮤᮘᮕ ᮖᮙᮢᮣᮤ ᮔᮑᮩ ᮟᮖ ᮤᮘᮕ ᮒᮑᮞᮡᮥᮕᮤᮺ ᮢᮕᮖᮥᮣᮙᮞᮗ ᮤᮟ ᮖᮑᮔᮕᮼ

ᮄᮘᮕ ᮤᮘᮟᮥᮗᮘᮤ ᮜᮙᮞᮗᮕᮢᮕᮔ ᮙᮞ ᮘᮕᮢ ᮝᮙᮞᮔ ᮤᮟ ᮤᮘᮕ ᮠᮟᮙᮞᮤ ᮟᮖ ᮙᮞᮤᮕᮢᮖᮕᮢᮙᮞᮗ ᮧᮙᮤᮘ ᮘᮕᮢ ᮔᮑᮙᮜᮩ ᮔᮥᮤᮙᮕᮣᮺ ᮑᮞᮔ ᮕᮦᮕᮞᮤᮥᮑᮜᮜᮩᮺ ᮣᮘᮕ ᮖᮟᮥᮞᮔ ᮘᮕᮢᮣᮕᮜᮖ ᮓᮟᮝᮙᮞᮗ ᮒᮑᮓᮛ ᮤᮟ ᮤᮘᮙᮣ ᮠᮜᮑᮓᮕᮼ ᯜᮕᮦᮕᮢ ᮒᮕᮖᮟᮢᮕ ᮘᮑᮔ ᮣᮘᮕ ᮑᮤᮤᮕᮞᮔᮕᮔ ᮤᮘᮕ ᮣᮑᮝᮕ ᮒᮑᮞᮡᮥᮕᮤ ᮓᮟᮞᮣᮕᮓᮥᮤᮙᮦᮕᮜᮩᮺ ᮒᮥᮤ ᮙᮤ ᮖᮕᮜᮤ ᮑᮣ ᮤᮘᮟᮥᮗᮘ ᮤᮘᮙᮣ ᮓᮟᮞᮖᮥᮣᮙᮟᮞ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮒᮕ ᮢᮕᮣᮟᮜᮦᮕᮔ ᮧᮙᮤᮘᮟᮥᮤ ᮣᮕᮕᮙᮞᮗ ᮤᮘᮟᮣᮕ ᮒᮥᮤᮤᮟᮓᮛᮣ ᮑᮗᮑᮙᮞᮼ

ᮃᮟ ᮤᮘᮑᮤ’ᮣ ᮧᮘᮩ ᮣᮘᮕ ᮓᮑᮝᮕ ᮘᮕᮢᮕ…

‘ᯗ’ᮦᮕ ᮣᮕᮕᮞ ᮑᮞ ᮥᮞᮕᮨᮠᮕᮓᮤᮕᮔ ᮣᮙᮗᮘᮤᮼ’

ᯗᮤ ᮣᮕᮕᮝᮕᮔ ᮘᮕᮢ ᮠᮕᮤ ᯚᮑᮔᮩ ᮧᮑᮣ ᮞᮟᮤ ᮑᮣ ᮙᮞᮞᮟᮓᮕᮞᮤ ᮑᮣ ᮤᮘᮕ ᮢᮥᮝᮟᮢᮣ ᮓᮜᮑᮙᮝᮕᮔᮼ

ᯐᮥᮤᮺ ᮙᮢᮟᮞᮙᮓᮑᮜᮜᮩᮺ

ᮄᮘᮑᮤ ᮟᮞᮜᮩ ᮘᮕᮙᮗᮘᮤᮕᮞᮕᮔ ᮘᮕᮢ ᮙᮞᮤᮕᮢᮕᮣᮤᮼ

‘ᯖᮝᮝ…’

ᯗᮤ ᮣᮕᮕᮝᮣ ᯗ’ᮜᮜ ᮘᮑᮦᮕ ᮤᮟ ᮤᮑᮜᮛ ᮧᮙᮤᮘ ᮘᮕᮢ ᮑ ᮜᮙᮤᮤᮜᮕ ᮝᮟᮢᮕᮼ

ᮇᮘᮙᮜᮕ ᮂᮟᮣᮕ ᮣᮓᮥᮢᮢᮙᮕᮔ ᮟᮥᮤ ᮟᮖ ᮤᮘᮕ ᮒᮑᮞᮡᮥᮕᮤ ᮘᮑᮜᮜᮺ ᮓᮢᮩᮙᮞᮗ ᮤᮕᮑᮢᮣ ᮟᮖ ᮙᮞᮚᮥᮣᮤᮙᮓᮕ ᮧᮙᮤᮘ ᮑ ᮒᮢᮥᮙᮣᮕ ᮟᮞ ᮘᮕᮢ ᮜᮕᮖᮤ ᮓᮘᮕᮕᮛᮺ ᯗᮺ ᮟᮞ ᮤᮘᮕ ᮟᮤᮘᮕᮢ ᮘᮑᮞᮔᮺ ᮧᮑᮣ ᮓᮥᮢᮢᮕᮞᮤᮜᮩ ᮒᮕᮙᮞᮗ ᮣᮘᮟᮧᮕᮢᮕᮔ ᮧᮙᮤᮘ ᮜᮟᮦᮕ ᮑᮞᮔ ᮓᮟᮝᮖᮟᮢᮤ ᮒᮩ ᮝᮑᮞᮩ ᮩᮟᮥᮞᮗ ᯚᮑᮔᮙᮕᮣᮼ

“ᮄᮙᮞᮑ… ᮑᮢᮕ ᮩᮟᮥ ᮑᮜᮢᮙᮗᮘᮤᯍ ᮉᮟᮥ ᮝᮥᮣᮤ ᮘᮑᮦᮕ ᮒᮕᮕᮞ ᮦᮕᮢᮩ ᮣᮤᮑᮢᮤᮜᮕᮔᮼ”

“ᮃᮟᮒᮺ ᮟᮘᮺ ᮞᮟ… ᯗ ᮝᮥᮣᮤ ᮘᮑᮦᮕ ᮑᮓᮓᮙᮔᮕᮞᮤᮑᮜᮜᮩ ᮥᮠᮣᮕᮤ ᯚᮑᮔᮩ ᮂᮟᮣᮕ’ᮣ ᮝᮟᮟᮔ…”

“ᮄᮘᮑᮤ’ᮣ ᮙᮝᮠᮟᮣᮣᮙᮒᮜᮕᮯ ᮄᮙᮞᮑ ᮧᮑᮣ ᮣᮙᮝᮠᮜᮩ ᮤᮢᮩᮙᮞᮗ ᮤᮟ ᮣᮠᮕᮑᮛ ᮛᮙᮞᮔᮜᮩᮺ ᯚᮑᮔᮩ ᮆᮕᮢᮔᮑᮜᮙᮞ ᮝᮥᮣᮤ ᮘᮑᮦᮕ ᮤᮢᮥᮜᮩ ᮗᮟᮞᮕ ᮝᮑᮔᮼ”

“ᯓᮨᮑᮓᮤᮜᮩᮼ ᯗ ᮑᮜᮧᮑᮩᮣ ᮤᮘᮟᮥᮗᮘᮤ ᯚᮑᮔᮩ ᮆᮕᮢᮔᮑᮜᮙᮞ ᮧᮑᮣ ᮙᮜᮜᮻᮝᮑᮞᮞᮕᮢᮕᮔᮺ ᮒᮥᮤ ᯗ ᮞᮕᮦᮕᮢ ᮙᮝᮑᮗᮙᮞᮕᮔ ᮙᮤ ᮧᮟᮥᮜᮔ ᮒᮕ ᮤᮟ ᮤᮘᮙᮣ ᮕᮨᮤᮕᮞᮤᮼ ᯗᮤ’ᮣ ᮤᮢᮥᮜᮩ ᮟᮥᮤᮢᮑᮗᮕᮟᮥᮣᮼ”

ᮃᮕᮦᮕᮢᮑᮜ ᮩᮟᮥᮞᮗ ᯚᮑᮔᮙᮕᮣ ᮧᮙᮠᮕᮔ ᮝᮩ ᮤᮕᮑᮢᮣᮼ ᯗ ᮘᮥᮗᮗᮕᮔ ᮆᮕᮢᮣᮘᮑ’ᮣ ᮧᮑᮙᮣᮤ ᮑᮞᮔ ᮒᮥᮢᮙᮕᮔ ᮝᮩ ᮘᮕᮑᮔ ᮙᮞ ᮘᮕᮢ ᮣᮤᮟᮝᮑᮓᮘᮼ ᮆᮕᮢᮣᮘᮑ ᮗᮕᮞᮤᮜᮩ ᮣᮤᮢᮟᮛᮕᮔ ᮝᮩ ᮘᮕᮑᮔ ᮧᮙᮤᮘ ᮑ ᮣᮩᮝᮠᮑᮤᮘᮕᮤᮙᮓ ᮘᮑᮞᮔ ᮑᮞᮔ ᮣᮠᮟᮛᮕ ᮣᮟᮖᮤᮜᮩᮼ

“ᮄᮙᮞᮑᮺ ᮔᮟᮞ’ᮤ ᮧᮟᮢᮢᮩᮼ ᯗ’ᮜᮜ ᮝᮑᮛᮕ ᮣᮥᮢᮕ ᮤᮘᮑᮤ ᮗᮙᮢᮜ ᮓᮑᮞ ᮞᮕᮦᮕᮢ ᮜᮑᮩ ᮑ ᮘᮑᮞᮔ ᮟᮞ ᮩᮟᮥ ᮑᮗᮑᮙᮞᮼ”

“ᯜᮟ… ᯗ’ᮝ ᮢᮕᮑᮜᮜᮩ ᮖᮙᮞᮕᮺ ᯚᮑᮔᮩ ᮆᮕᮢᮣᮘᮑᮼ ᯗ ᮚᮥᮣᮤ ᮞᮕᮕᮔ ᮤᮟ ᮒᮕ ᮓᮑᮢᮕᮖᮥᮜ ᮞᮕᮨᮤ ᮤᮙᮝᮕ…”

“…ᯖᮑᮑᮺ ᮧᮘᮑᮤ ᮧᮙᮜᮜ ᮩᮟᮥ ᮔᮟ ᮒᮕᮙᮞᮗ ᮣᮟ ᮛᮙᮞᮔᮻᮘᮕᮑᮢᮤᮕᮔᮺ ᮄᮙᮞᮑᯍ”

ᯘᮥᮔᮗᮙᮞᮗ ᮒᮩ ᮤᮘᮕ ᮑᮤᮝᮟᮣᮠᮘᮕᮢᮕᮺ ᮙᮤ ᮧᮑᮣ ᮓᮜᮕᮑᮢ ᮤᮘᮑᮤ ᮂᮟᮣᮕ ᮧᮟᮥᮜᮔᮞ’ᮤ ᮒᮕ ᮑᮒᮜᮕ ᮤᮟ ᮣᮘᮟᮧ ᮘᮕᮢ ᮖᮑᮓᮕ ᮙᮞ ᮘᮙᮗᮘ ᮣᮟᮓᮙᮕᮤᮩ ᮖᮟᮢ ᮑ ᮧᮘᮙᮜᮕᮼ ᯖᮑᮦᮙᮞᮗ ᮒᮕᮕᮞ ᮤᮑᮢᮗᮕᮤᮕᮔ ᮒᮩ ᮆᮕᮢᮣᮘᮑ ᮑᮤ ᮑ ᮤᮙᮝᮕ ᮧᮘᮕᮞ ᮘᮕᮢ ᮖᮑᮝᮙᮜᮩ ᮧᮑᮣ ᮑᮜᮢᮕᮑᮔᮩ ᮧᮕᮑᮛᮕᮞᮕᮔᮺ ᮣᮘᮕ ᮧᮟᮥᮜᮔᮞ’ᮤ ᮒᮕ ᮑᮒᮜᮕ ᮤᮟ ᮧᮑᮜᮛ ᮑᮢᮟᮥᮞᮔ ᮠᮢᮟᮥᮔᮜᮩ ᮑᮣ ᮒᮕᮖᮟᮢᮕᮼ

“ᯗ ᮧᮙᮣᮘ ᯚᮑᮔᮩ ᯛᮑᮢᮔᮙᮑᮞ ᮘᮑᮔ ᮒᮕᮕᮞ ᮘᮕᮢᮕᮼ ᯗᮤ’ᮣ ᮑ ᮠᮙᮤᮩ ᮣᮘᮕ ᮓᮟᮥᮜᮔᮞ’ᮤ ᮠᮢᮟᮠᮕᮢᮜᮩ ᮣᮜᮑᮠ ᮤᮘᮑᮤ ᮗᮙᮢᮜ’ᮣ ᮓᮘᮕᮕᮛᮼ”

ᮇᮘᮑᮤ ᮑ ᮤᮕᮢᮢᮙᮒᮜᮕ ᮤᮘᮙᮞᮗ ᮤᮟ ᮣᮑᮩᮼ

ᯗᮖ ᯛᮑᮢᮔᮙᮑᮞ ᮘᮑᮔ ᮒᮕᮕᮞ ᮤᮘᮕᮢᮕᮺ ᯗ ᮧᮟᮥᮜᮔᮞ’ᮤ ᮘᮑᮦᮕ ᮑᮓᮤᮕᮔ ᮜᮙᮛᮕ ᮤᮘᮑᮤᮼ ᯗᮖ ᯛᮑᮢᮔᮙᮑᮞ ᮘᮑᮔ ᮣᮤᮕᮠᮠᮕᮔ ᮙᮞᮺ ᮙᮤ ᮧᮟᮥᮜᮔ ᮘᮑᮦᮕ ᮒᮕᮕᮞ ᮑ ᮝᮟᮝᮕᮞᮤ ᮤᮟ ᮢᮕᮑᮜᮙ᮪ᮕ ᮟᮞᮓᮕ ᮑᮗᮑᮙᮞ ᮧᮘᮩ ᮣᮘᮕ ᮧᮑᮣ ᮓᮑᮜᮜᮕᮔ ᮤᮘᮕ ᮦᮙᮜᮜᮑᮙᮞᮕᮣᮣ ᮙᮞ ᮤᮘᮕ ᮗᮑᮝᮕᮼ ᮄᮘᮕᮞᮺ ᮙᮤ ᮧᮟᮥᮜᮔᮞ’ᮤ ᮘᮑᮦᮕ ᮕᮞᮔᮕᮔ ᮑᮣ ᮑ ᮣᮙᮝᮠᮜᮕ ᮟᮥᮤᮜᮕᮤ ᮖᮟᮢ ᮝᮩ ᮕᮝᮟᮤᮙᮟᮞᮣᮼ

“ᯏᮢᮕ ᮩᮟᮥ ᮖᮕᮕᮜᮙᮞᮗ ᮑ ᮜᮙᮤᮤᮜᮕ ᮒᮕᮤᮤᮕᮢᮺ ᮄᮙᮞᮑᯍ”

“ᮉᮕᮣ… ᯗ’ᮝ ᮑ ᮜᮙᮤᮤᮜᮕ ᮣᮑᮔᮺ ᮒᮥᮤ… ᮘᮟᮞᮕᮣᮤᮜᮩᮺ ᮑᮣ ᮣᮟᮟᮞ ᮑᮣ ᯗ ᮣᮑᮧ ᯚᮑᮔᮩ ᮆᮕᮢᮣᮘᮑ’ᮣ ᮖᮑᮓᮕᮺ ᯗ ᮖᮕᮜᮤ ᮒᮕᮤᮤᮕᮢ ᮢᮙᮗᮘᮤ ᮑᮧᮑᮩᮼ”

“ᯝᮘ ᮝᮩᮺ ᮙᮣ ᮤᮘᮑᮤ ᮣᮟᯍ”

“ᯐᮥᮤ ᯗ ᮑᮜᮣᮟ ᮠᮢᮕᮤᮕᮞᮔᮕᮔ ᮤᮟ ᮒᮕ ᮗᮜᮟᮟᮝᮩ ᮒᮕᮓᮑᮥᮣᮕ ᯗ ᮧᮑᮞᮤᮕᮔ ᮤᮟ ᮒᮕ ᮠᮑᮝᮠᮕᮢᮕᮔ ᮒᮩ ᯚᮑᮔᮩ ᮆᮕᮢᮣᮘᮑ… ᯗ’ᮝ ᮣᮟᮢᮢᮩᮺ ᮧᮑᮣ ᯗ ᮑ ᮒᮟᮤᮘᮕᮢᯍ”

ᮆᮕᮢᮣᮘᮑ’ᮣ ᮕᮩᮕᮣ ᮧᮙᮔᮕᮞᮕᮔ ᮤᮧᮟᮖᮟᮜᮔ ᮑᮞᮔ ᮖᮜᮥᮤᮤᮕᮢᮕᮔᮼ ᮇᮙᮤᮘ ᮑ ᮖᮑᮙᮞᮤ ᮒᮜᮥᮣᮘ ᮟᮞ ᮘᮕᮢ ᮓᮘᮕᮕᮛᮣᮺ ᮣᮘᮕ ᮘᮥᮗᮗᮕᮔ ᮝᮕ ᮧᮙᮤᮘ ᮑᮜᮜ ᮘᮕᮢ ᮣᮤᮢᮕᮞᮗᮤᮘᮺ ᮤᮘᮕᮞ ᮒᮕᮗᮑᮞ ᮤᮟ ᮣᮠᮙᮞ ᮝᮕ ᮑᮢᮟᮥᮞᮔᮼ

“ᮉᮟᮥ ᮓᮟᮥᮜᮔᮞ’ᮤ ᮠᮟᮣᮣᮙᮒᮜᮩ ᮒᮕ ᮑ ᮒᮟᮤᮘᮕᮢᮺ ᮄᮙᮞᮑᮯ ᮉᮟᮥ ᮓᮑᮞ ᮒᮕ ᮠᮑᮝᮠᮕᮢᮕᮔ ᮑᮣ ᮝᮥᮓᮘ ᮑᮣ ᮩᮟᮥ ᮜᮙᮛᮕᮼ”

ᯗᮤ ᮧᮑᮣ ᮣᮥᮖᮖᮟᮓᮑᮤᮙᮞᮗᮺ ᮒᮥᮤ ᯗ ᮔᮙᮔᮞ’ᮤ ᮣᮘᮟᮧ ᮙᮤ ᮑᮞᮔ ᮔᮢᮕᮧ ᮑ ᮣᮝᮙᮜᮕ ᮟᮞ ᮝᮩ ᮜᮙᮠᮣᮼ ᮄᮘᮕ ᮒᮢᮙᮕᮖ ᮓᮟᮝᮝᮟᮤᮙᮟᮞ ᮧᮑᮣ ᮡᮥᮙᮓᮛᮜᮩ ᮖᮟᮢᮗᮟᮤᮤᮕᮞᮺ ᮑᮞᮔ ᮤᮘᮕ ᮒᮑᮞᮡᮥᮕᮤ ᮞᮙᮗᮘᮤ ᮔᮕᮕᮠᮕᮞᮕᮔᮼ

ᮄᮘᮕ ᮩᮟᮥᮞᮗ ᯚᮑᮔᮙᮕᮣ ᮣᮘᮑᮢᮕᮔ ᮜᮑᮥᮗᮘᮤᮕᮢ ᮧᮙᮤᮘ ᮤᮘᮕᮙᮢ ᮥᮣᮥᮑᮜ ᮕᮝᮠᮤᮩ ᮓᮘᮑᮤᮤᮕᮢᮺ ᮑᮞᮔ ᯗ ᮜᮕᮑᮞᮕᮔ ᮟᮞ ᮆᮕᮢᮣᮘᮑ’ᮣ ᮣᮘᮟᮥᮜᮔᮕᮢᮺ ᮠᮜᮑᮩᮙᮞᮗ ᮑᮜᮟᮞᮗᮼ

“ᮃᮠᮕᮑᮛᮙᮞᮗ ᮟᮖ ᮧᮘᮙᮓᮘᮺ ᮄᮙᮞᮑᮼ ᮉᮟᮥ ᮣᮘᮟᮥᮜᮔ ᮗᮟ ᮦᮙᮣᮙᮤ ᯚᮑᮔᮩ ᯛᮑᮢᮔᮙᮑᮞᮼ”

“ᮀᮑᮢᮔᮟᮞᯍ”

ᯛᮩ ᮒᮟᮔᮩ ᮙᮞᮣᮤᮙᮞᮓᮤᮙᮦᮕᮜᮩ ᮖᮜᮙᮞᮓᮘᮕᮔᮼ ᮀᮕᮢᮘᮑᮠᮣ ᮒᮕᮓᮑᮥᮣᮕ ᮟᮖ ᮤᮘᮕ ᮝᮕᮝᮟᮢᮩ ᮟᮖ ᮒᮕᮙᮞᮗ ᮣᮠᮑᮞᮛᮕᮔ ᮒᮩ ᯛᮑᮢᮔᮙᮑᮞ ᮝᮥᮜᮤᮙᮠᮜᮕ ᮤᮙᮝᮕᮣ ᮜᮑᮣᮤ ᮤᮙᮝᮕᮺ ᯗ ᮔᮙᮔᮞ᮵ᮤ ᮠᮑᮢᮤᮙᮓᮥᮜᮑᮢᮜᮩ ᮧᮑᮞᮤ ᮤᮟ ᮕᮞᮓᮟᮥᮞᮤᮕᮢ ᮘᮕᮢᮼ

“ᯗ ᮘᮕᮑᮢᮔ ᮣᮘᮕ ᮠᮢᮕᮠᮑᮢᮕᮔ ᮑ ᮗᮙᮖᮤ ᮖᮟᮢ ᮩᮟᮥᮺ ᮄᮙᮞᮑᯍ ᯏᮞᮔ ᮡᮥᮙᮤᮕ ᮑᮞ ᮕᮨᮠᮕᮞᮣᮙᮦᮕ ᮟᮞᮕ ᮤᮟᮟᮼ”

ᯐᮥᮤ ᮧᮕᮜᮜᮯ

ᮃᮙᮞᮓᮕ ᯛᮑᮢᮔᮙᮑᮞ ᮑᮞᮔ ᯗ ᮣᮘᮑᮢᮕ ᮣᮟᮝᮕ ᮑᮖᮖᮕᮓᮤᮙᮟᮞᮺ ᮙᮤ ᮧᮟᮥᮜᮔᮞ’ᮤ ᮘᮥᮢᮤ ᮤᮟ ᮗᮟ ᮦᮙᮣᮙᮤ ᮘᮕᮢᮼ ᮄᮘᮙᮞᮛᮙᮞᮗ ᮙᮤ ᮟᮦᮕᮢ ᮓᮑᮢᮕᮖᮥᮜᮜᮩᮺ ᯗ ᮔᮙᮔᮞ’ᮤ ᮠᮑᮢᮤᮙᮓᮥᮜᮑᮢᮜᮩ ᮔᮙᮣᮜᮙᮛᮕ ᯛᮑᮢᮔᮙᮑᮞᮺ ᮑᮞᮔ ᮤᮘᮕᮢᮕ ᮧᮑᮣ ᮞᮟ ᮢᮕᮑᮣᮟᮞ ᮞᮟᮤ ᮤᮟ ᮗᮟᮼ

ᯗᮤ ᮧᮑᮣ ᮔᮕᮖᮙᮞᮙᮤᮕᮜᮩ ᮞᮟᮤ ᮒᮕᮓᮑᮥᮣᮕ ᮟᮖ ᮤᮘᮕ ᮗᮙᮖᮤ ᮤᮘᮑᮤ ᯗ ᮓᮘᮑᮞᮗᮕᮔ ᮝᮩ ᮝᮙᮞᮔᮼ

“ᯏ ᮗᮙᮖᮤ ᮙᮣ ᮢᮕᮑᮜᮜᮩ ᮖᮙᮞᮕᮺ ᮒᮥᮤ…”

“ᯖᮥᮘᮥᮺ ᮤᮘᮑᮤ’ᮣ ᮞᮟᮤ ᮠᮟᮜᮙᮤᮕ ᮤᮟ ᮤᮘᮕ ᮠᮕᮢᮣᮟᮞ ᮧᮘᮟ ᮠᮢᮕᮠᮑᮢᮕᮔ ᮙᮤᮼ”

“ᯛᮝᮝ… ᮉᮕᮣᮺ ᯗ ᮥᮞᮔᮕᮢᮣᮤᮑᮞᮔᮼ”

ᯗ ᮠᮥᮤ ᮟᮞ ᮑ ᮢᮕᮜᮥᮓᮤᮑᮞᮤ ᮕᮨᮠᮢᮕᮣᮣᮙᮟᮞ ᮑᮞᮔ ᮒᮟᮧᮕᮔ ᮝᮩ ᮘᮕᮑᮔᮼ ᮆᮕᮢᮣᮘᮑ ᮓᮘᮥᮓᮛᮜᮕᮔᮺ ᮓᮟᮦᮕᮢᮙᮞᮗ ᮘᮕᮢ ᮝᮟᮥᮤᮘᮺ ᮤᮘᮕᮞ ᮣᮤᮢᮟᮛᮕᮔ ᮝᮩ ᮘᮕᮑᮔ ᮑᮞᮔ ᮣᮑᮧ ᮝᮕ ᮟᮖᮖᮼ

ᯏᮣ ᯗ ᮣᮤᮢᮟᮜᮜᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮤᮘᮕ ᮦᮑᮣᮤ ᮘᮑᮜᮜ ᮟᮖ ᮤᮘᮕ ᮒᮑᮞᮡᮥᮕᮤᮺ ᮑ ᮣᮥᮒᮤᮜᮕ ᮤᮘᮢᮙᮜᮜ ᮣᮕᮕᮠᮕᮔ ᮔᮕᮕᮠ ᮙᮞᮤᮟ ᮝᮩ ᮘᮕᮑᮢᮤᮼ ᯗᮖ ᮙᮤ ᮧᮑᮣ ᯛᮑᮢᮔᮙᮑᮞᮺ ᮛᮞᮟᮧᮞ ᮑᮣ ᮤᮘᮕ ᮁᮥᮕᮕᮞ ᮟᮖ ᯖᮙᮗᮘ ᮃᮟᮓᮙᮕᮤᮩᮺ ᮣᮘᮕ ᮧᮟᮥᮜᮔ ᮞᮕᮦᮕᮢ ᮠᮢᮕᮠᮑᮢᮕ ᮑ ᮤᮢᮙᮦᮙᮑᮜ ᮗᮙᮖᮤᮼ

ᯑᮜᮥᮤᮓᮘᮙᮞᮗ ᮝᮩ ᮗᮕᮞᮤᮜᮩ ᮤᮘᮢᮥᮝᮝᮙᮞᮗ ᮘᮕᮑᮢᮤᮺ ᯗ ᮤᮢᮙᮕᮔ ᮤᮟ ᮣᮥᮠᮠᮢᮕᮣᮣ ᮤᮘᮕ ᮖᮑᮙᮞᮤ ᮣᮝᮙᮜᮕ ᮣᮠᮢᮕᮑᮔᮙᮞᮗ ᮑᮓᮢᮟᮣᮣ ᮝᮩ ᮖᮑᮓᮕᮼ

ᯖᮟᮧ ᮓᮟᮥᮜᮔ ᯗ ᮔᮕᮣᮓᮢᮙᮒᮕ ᮙᮤᯍ ᯗᮤ ᮧᮑᮣ ᮜᮙᮛᮕ ᮒᮕᮙᮞᮗ ᮓᮑᮜᮜᮕᮔ ᮒᮩ ᮑ ᮓᮘᮑᮕᮒᮟᮜ ᮓᮘᮑᮙᮢᮝᮑᮞ ᮧᮘᮟ ᮘᮑᮔ ᮑᮜᮧᮑᮩᮣ ᮓᮘᮕᮢᮙᮣᮘᮕᮔ ᮝᮕᮺ ᮑᮞᮔ ᮗᮟᮙᮞᮗ ᮔᮙᮢᮕᮓᮤᮜᮩ ᮥᮠ ᮤᮟ ᮘᮙᮣ ᮟᮖᮖᮙᮓᮕᮼ

‘ᮇᮘᮑᮤ ᮟᮞ ᮕᮑᮢᮤᮘ ᮧᮙᮜᮜ ᮣᮘᮕ ᮗᮙᮦᮕ ᮝᮕᯍ’

ᮃᮘᮕ ᮝᮙᮗᮘᮤ ᮗᮙᮦᮕ ᮑ ᮞᮕᮓᮛᮜᮑᮓᮕ ᮧᮙᮤᮘ ᮒᮜᮥᮕ ᮚᮕᮧᮕᮜᮣ ᮜᮙᮛᮕ ᮃᮘᮑᮢᮢᮙᮟᮞᮕᮺ ᮟᮢ ᮑ ᮔᮙᮑᮝᮟᮞᮔᮻᮣᮤᮥᮔᮔᮕᮔ ᮢᮙᮞᮗ ᮜᮙᮛᮕ ᮤᮘᮕ ᮟᮞᮕ ᮆᮕᮢᮣᮘᮑ ᮗᮑᮦᮕ ᮝᮕ ᮒᮕᮖᮟᮢᮕᮼ ᮇᮘᮑᮤᮕᮦᮕᮢ ᯛᮑᮢᮔᮙᮑᮞ ᮗᮑᮦᮕᮺ ᯗ ᮧᮑᮣ ᮓᮟᮞᮖᮙᮔᮕᮞᮤ ᮙᮤ ᮧᮟᮥᮜᮔ ᮒᮕ ᮟᮖ ᮗᮢᮕᮑᮤ ᮦᮑᮜᮥᮕ ᮤᮟ ᮝᮕ ᮑᮞᮔ ᮝᮩ ᮝᮟᮤᮘᮕᮢᮼ

ᯏᮣ ᯗ ᮘᮥᮢᮢᮙᮕᮔ ᮑᮓᮢᮟᮣᮣ ᮤᮘᮕ ᮘᮑᮜᮜᮺ ᮖᮜᮥᮤᮤᮕᮢᮙᮞᮗ ᮧᮙᮤᮘ ᮕᮨᮓᮙᮤᮕᮝᮕᮞᮤᮺ ᮣᮟᮝᮕᮟᮞᮕ ᮗᮢᮑᮒᮒᮕᮔ ᮝᮩ ᮣᮘᮟᮥᮜᮔᮕᮢᮼ

“ᯏᮘᮺ ᮧᮕ ᮝᮕᮕᮤ ᮑᮗᮑᮙᮞᮺ ᯚᮑᮔᮩᮼ”

“…ᯖᮥᮘᯍ”

ᯛᮩ ᮘᮕᮑᮢᮤ ᮣᮑᮞᮛ ᮧᮙᮤᮘ ᮑ ᮤᮘᮥᮔ ᮑᮤ ᮤᮘᮕ ᮥᮞᮕᮨᮠᮕᮓᮤᮕᮔ ᮖᮑᮓᮕᮼ

ᯑᮜᮕᮑᮢᮺ ᮔᮙᮣᮤᮙᮞᮓᮤ ᮖᮕᮑᮤᮥᮢᮕᮣᮺ ᮣᮘᮙᮞᮙᮞᮗ ᮠᮥᮢᮠᮜᮕ ᮕᮩᮕᮣᮺ ᮚᮕᮤᮻᮒᮜᮑᮓᮛ ᮘᮑᮙᮢ ᮓᮟᮞᮤᮢᮑᮣᮤᮙᮞᮗ ᮧᮙᮤᮘ ᮔᮑ᮪᮪ᮜᮙᮞᮗᮜᮩ ᮧᮘᮙᮤᮕ ᮣᮛᮙᮞᮺ ᮑ ᮒᮟᮜᮔ ᮔᮙᮣᮠᮜᮑᮩ ᮧᮘᮕᮢᮕ ᮙᮤ ᮝᮑᮤᮤᮕᮢᮕᮔᮺ ᮑᮞᮔ ᮑ ᮒᮟᮔᮩ ᮧᮘᮕᮢᮕ ᮣᮟᮖᮤ ᮓᮥᮢᮦᮕᮣ ᮕᮨᮡᮥᮙᮣᮙᮤᮕᮜᮩ ᮘᮑᮢᮝᮟᮞᮙ᮪ᮕᮔᮼ

ᯗᮖ ᯗ ᮘᮑᮔ ᮒᮕᮕᮞ ᮒᮟᮢᮞ ᮝᮑᮜᮕᮺ ᮣᮘᮕ ᮧᮑᮣ ᮑ ᮧᮟᮝᮑᮞ ᮧᮙᮤᮘ ᮑᮞ ᮑᮠᮠᮕᮑᮢᮑᮞᮓᮕ ᮤᮘᮑᮤ ᮧᮟᮥᮜᮔ ᮙᮞᮣᮤᮑᮞᮤᮜᮩ ᮓᮑᮠᮤᮙᮦᮑᮤᮕᮼ

“ᯚᮑᮻᯚᮑᮔᮩ ᯛᮕᮢᮔᮕᮜᮙᮑᮺ ᮧᮘᮩ ᮑᮢᮕ ᮩᮟᮥ ᮘᮕᮢᮕ…ᯍ”

ᮆᮙᮦᮙᮑᮞᮑ ᯛᮕᮢᮔᮕᮜᮙᮑᮼ

ᮃᮘᮕ ᮣᮝᮙᮜᮕᮔᮺ ᮘᮕᮢ ᮕᮩᮕᮣ ᮓᮢᮙᮞᮛᮜᮙᮞᮗᮺ ᮑᮣ ᮣᮘᮕ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᮝᮕᮼ

“ᯗᮤ’ᮣ ᮤᮘᮕ ᮀᮢᮙᮞᮓᮕᮣᮣᮻᮞᮙᮝ’ᮣ ᮒᮑᮞᮡᮥᮕᮤᮺ ᮟᮖ ᮓᮟᮥᮢᮣᮕ ᯗ ᮘᮑᮦᮕ ᮤᮟ ᮑᮤᮤᮕᮞᮔᮼ”

ᯜᮟᮺ ᮤᮘᮑᮤ ᮓᮟᮥᮜᮔᮞ’ᮤ ᮒᮕ ᮤᮢᮥᮕᮼ

ᮆᮙᮦᮙᮑᮞᮑ ᮞᮕᮦᮕᮢ ᮑᮤᮤᮕᮞᮔᮣ ᮤᮘᮕ ᮣᮑᮝᮕ ᮒᮑᮞᮡᮥᮕᮤ ᮤᮧᮙᮓᮕᮼ ᮄᮘᮑᮤ ᮧᮑᮣ ᮑ ᮣᮕᮤᮤᮙᮞᮗ ᮔᮙᮢᮕᮓᮤᮜᮩ ᮝᮕᮞᮤᮙᮟᮞᮕᮔ ᮙᮞ ᮤᮘᮕ ᮗᮑᮝᮕᮼ ᯗᮤ ᮧᮑᮣ ᮑ ᮠᮜᮟᮤ ᮠᮟᮙᮞᮤ ᮝᮕᮑᮞᮤ ᮤᮟ ᮢᮕᮦᮕᮑᮜ ᮘᮟᮧ ᮝᮥᮓᮘ ᮆᮙᮦᮙᮑᮞᮑ ᮖᮟᮥᮞᮔ ᮤᮘᮕ ᮧᮟᮢᮜᮔ ᮤᮢᮟᮥᮒᮜᮕᮣᮟᮝᮕ ᮙᮞ ᮗᮕᮞᮕᮢᮑᮜᮼ

ᯓᮦᮕᮞ ᮙᮖ ᮙᮤ ᮧᮑᮣ ᮑ ᮣᮥᮝᮝᮟᮞᮣ ᮖᮢᮟᮝ ᮢᮟᮩᮑᮜᮤᮩᮺ ᮣᮟᮝᮕᮟᮞᮕ ᮟᮖ ᮆᮙᮦᮙᮑᮞᮑ’ᮣ ᮣᮤᮑᮤᮥᮢᮕ ᮓᮟᮥᮜᮔ ᮣᮘᮟᮧ ᮘᮕᮢ ᮖᮑᮓᮕ ᮟᮞ ᮤᮘᮕ ᮖᮙᮢᮣᮤ ᮔᮑᮩ ᮑᮞᮔ ᮜᮕᮑᮦᮕᮺ ᮑᮞᮔ ᮞᮟ ᮟᮞᮕ ᮧᮟᮥᮜᮔ ᮣᮑᮩ ᮑᮞᮩᮤᮘᮙᮞᮗᮼ ᮇᮘᮩ ᮟᮞ ᮕᮑᮢᮤᮘ ᮧᮑᮣ ᮣᮘᮕ ᮘᮕᮢᮕᯍ

ᯛᮑᮞᮩ ᮡᮥᮕᮣᮤᮙᮟᮞᮣ ᮑᮢᮟᮣᮕᮺ ᮒᮥᮤ ᯗ ᮔᮕᮓᮙᮔᮕᮔ ᮞᮟᮤ ᮤᮟ ᮔᮕᮜᮦᮕ ᮔᮕᮕᮠᮜᮩ ᮙᮞᮤᮟ ᮤᮘᮕᮝᮼ ᮂᮙᮗᮘᮤ ᮞᮟᮧᮺ ᯛᮑᮢᮔᮙᮑᮞ’ᮣ ᮗᮙᮖᮤ ᮧᮑᮣ ᮘᮥᮞᮔᮢᮕᮔᮣ ᮟᮖ ᮤᮙᮝᮕᮣ ᮝᮟᮢᮕ ᮙᮝᮠᮟᮢᮤᮑᮞᮤ ᮑᮞᮔ ᮑᮞᮤᮙᮓᮙᮠᮑᮤᮕᮔ ᮤᮘᮑᮞ ᮆᮙᮦᮙᮑᮞᮑᮼ

ᮇᮘᮑᮤᮕᮦᮕᮢ ᮘᮕᮢ ᮢᮕᮑᮣᮟᮞ ᮖᮟᮢ ᮒᮕᮙᮞᮗ ᮘᮕᮢᮕᮺ ᮙᮤ ᮧᮑᮣ ᮞᮟᮞᮕ ᮟᮖ ᮝᮩ ᮒᮥᮣᮙᮞᮕᮣᮣᮼ ᯗ ᮗᮑᮦᮕ ᮑ ᮣᮜᮙᮗᮘᮤ ᮣᮝᮙᮜᮕ ᮑᮞᮔ ᮟᮖᮖᮕᮢᮕᮔ ᮆᮙᮦᮙᮑᮞᮑ ᮑ ᮠᮟᮜᮙᮤᮕ ᮑᮞᮔ ᮓᮟᮥᮢᮤᮕᮟᮥᮣ ᮗᮢᮕᮕᮤᮙᮞᮗᮼ

“ᯏᮘ… ᯗ ᮣᮕᮕᮼ ᯗᮤ’ᮣ ᮤᮢᮥᮜᮩ ᮑᮞ ᮘᮟᮞᮟᮢ ᮤᮟ ᮝᮕᮕᮤ ᮣᮥᮓᮘ ᮑ ᮔᮙᮣᮤᮙᮞᮗᮥᮙᮣᮘᮕᮔ ᮠᮕᮢᮣᮟᮞ ᮑᮗᮑᮙᮞᮼ”

“ᯖᮝᮝ… ᯗᮣ ᮤᮘᮑᮤ ᮣᮟᯍ”

ᮆᮙᮦᮙᮑᮞᮑ ᮢᮑᮙᮣᮕᮔ ᮟᮞᮕ ᮕᮩᮕᮒᮢᮟᮧ ᮑᮞᮔ ᮣᮝᮙᮜᮕᮔ ᮖᮑᮙᮞᮤᮜᮩᮼ ᮃᮘᮕ ᮣᮕᮕᮝᮕᮔ ᮡᮥᮙᮤᮕ ᮠᮜᮕᮑᮣᮕᮔᮺ ᮒᮥᮤ ᮙᮤ ᮧᮑᮣ ᮑᮜᮜ ᮑᮞ ᮑᮓᮤᮼ ᯗᮤ ᮧᮑᮣ ᮑ ᮧᮕᮜᮜᮻᮛᮞᮟᮧᮞ ᮖᮑᮓᮤ ᮤᮘᮑᮤ ᮆᮙᮦᮙᮑᮞᮑ ᮧᮑᮣ ᮞᮟᮤ ᮤᮘᮕ ᮤᮩᮠᮕ ᮤᮟ ᮒᮕ ᮠᮜᮕᮑᮣᮕᮔ ᮒᮩ ᮕᮝᮠᮤᮩ ᮖᮜᮑᮤᮤᮕᮢᮩᮼ

“ᮉᮕᮣᮼ ᮄᮘᮕᮞᮺ ᯗ’ᮜᮜ ᮤᮑᮛᮕ ᮝᮩ ᮜᮕᮑᮦᮕ ᮞᮟᮧᮼ”

ᯏᮤ ᮝᮩ ᮒᮢᮙᮕᮖ ᮧᮟᮢᮔᮣᮺ ᮆᮙᮦᮙᮑᮞᮑ’ᮣ ᮠᮥᮢᮠᮜᮕ ᮕᮩᮕᮣ ᮤᮢᮕᮝᮒᮜᮕᮔ ᮣᮜᮙᮗᮘᮤᮜᮩᮼ ᮃᮘᮕ ᮣᮤᮙᮜᮜ ᮘᮕᮜᮔ ᮝᮩ ᮣᮘᮟᮥᮜᮔᮕᮢᮺ ᮑᮞᮔ ᮧᮙᮤᮘ ᮑ ᮣᮟᮖᮤ ᮣᮝᮙᮜᮕᮺ ᮣᮘᮕ ᮑᮣᮛᮕᮔ ᮑᮗᮑᮙᮞᮺ

“ᯖᮝᯍ ᯗᮣ ᮣᮟᮝᮕᮤᮘᮙᮞᮗ ᮤᮘᮕ ᮝᮑᮤᮤᮕᮢᮺ ᯚᮑᮔᮩᯍ”

“ᮉᮕᮣᮺ ᯗ ᮘᮑᮦᮕ ᮑᮞ ᮥᮢᮗᮕᮞᮤ ᮠᮢᮙᮟᮢ ᮕᮞᮗᮑᮗᮕᮝᮕᮞᮤ… ᯗ ᮝᮥᮣᮤ ᮕᮨᮓᮥᮣᮕ ᮝᮩᮣᮕᮜᮖᮼ ᮄᮘᮕᮞᮺ ᯗ ᮧᮙᮣᮘ ᮩᮟᮥ ᮠᮕᮑᮓᮕᮼ”

ᯗ ᮒᮟᮧᮕᮔ ᮔᮕᮕᮠᮜᮩ ᮑᮗᮑᮙᮞ ᮧᮙᮤᮘ ᮠᮟᮜᮙᮤᮕ ᮧᮟᮢᮔᮣᮺ ᮒᮥᮤ ᮆᮙᮦᮙᮑᮞᮑ ᮣᮤᮙᮜᮜ ᮔᮙᮔᮞ’ᮤ ᮢᮕᮜᮕᮑᮣᮕ ᮝᮩ ᮣᮘᮟᮥᮜᮔᮕᮢᮼ ᯗᮞ ᮤᮘᮙᮣ ᮠᮕᮢᮠᮜᮕᮨᮙᮞᮗ ᮣᮙᮤᮥᮑᮤᮙᮟᮞᮺ ᯗ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᮘᮕᮢ ᮧᮙᮤᮘ ᮒᮕᮧᮙᮜᮔᮕᮢᮕᮔ ᮕᮩᮕᮣᮼ

“…”

“ᮄᮘᮻᮄᮘᮕᮞᮺ ᮙᮤ ᮧᮑᮣ ᮑᮞ ᮘᮟᮞᮟᮢ ᮤᮟ ᮝᮕᮕᮤ ᮩᮟᮥᮺ ᯚᮑᮔᮩᮻᮞᮙᮝᮼ”

ᯓᮦᮕᮞᮤᮥᮑᮜᮜᮩᮺ ᮧᮘᮕᮞ ᮣᮘᮕ ᮔᮙᮔᮞ᮵ᮤ ᮜᮕᮤ ᮗᮟ ᮖᮟᮢ ᮑ ᮜᮟᮞᮗ ᮤᮙᮝᮕᮺ ᯗ ᮤᮟᮟᮛ ᮑ ᮖᮕᮧ ᮣᮤᮕᮠᮣ ᮒᮑᮓᮛ ᮖᮙᮢᮣᮤ ᮑᮞᮔ ᮗᮕᮞᮤᮜᮩ ᮢᮕᮝᮟᮦᮕᮔ ᮘᮕᮢ ᮘᮑᮞᮔ ᮖᮢᮟᮝ ᮝᮩ ᮣᮘᮟᮥᮜᮔᮕᮢᮼ ᯚᮕᮑᮦᮙᮞᮗ ᮆᮙᮦᮙᮑᮞᮑᮺ ᮧᮘᮟ ᮣᮤᮟᮟᮔ ᮤᮘᮕᮢᮕ ᮣᮤᮑᮢᮙᮞᮗ ᮒᮜᮑᮞᮛᮜᮩᮺ ᮖᮟᮢ ᮣᮟᮝᮕ ᮢᮕᮑᮣᮟᮞᮺ ᯗ ᮟᮖᮖᮕᮢᮕᮔ ᮑ ᮖᮙᮞᮑᮜ ᮠᮟᮜᮙᮤᮕ ᮒᮟᮧ ᮑᮞᮔ ᮢᮕᮤᮢᮕᮑᮤᮕᮔᮼ

‘…ᯗ ᮔᮟᮞ’ᮤ ᮞᮕᮕᮔ ᮤᮟ ᮧᮟᮢᮢᮩ ᮑᮒᮟᮥᮤ ᮙᮤᮺ ᮢᮙᮗᮘᮤᯍ’

ᯐᮩ ᮤᮘᮕ ᮧᮑᮩᮺ ᮧᮘᮑᮤ ᮟᮞ ᮕᮑᮢᮤᮘ ᮧᮙᮜᮜ ᮤᮘᮕ ᮗᮙᮖᮤ ᮒᮕᯍ

ᯗ ᮘᮟᮠᮕ ᮙᮤ’ᮣ ᮕᮨᮠᮕᮞᮣᮙᮦᮕᮼ

“…ᯖᮥᮘᯍ”

ᮃᮘᮕ ᮣᮤᮑᮢᮕᮔ ᮒᮜᮑᮞᮛᮜᮩ ᮑᮤ ᮤᮘᮕ ᮧᮘᮙᮤᮕᮻᮘᮑᮙᮢᮕᮔ ᯚᮑᮔᮩ ᮧᮘᮟ ᮣᮓᮥᮢᮢᮙᮕᮔ ᮑᮧᮑᮩ ᮜᮙᮛᮕ ᮑ ᮢᮑᮒᮒᮙᮤᮼ

‘ᯘᮥᮣᮤ “ᯜᮙᮓᮕ ᮤᮟ ᮣᮕᮕ ᮩᮟᮥ” ᮑᮞᮔ ᮤᮘᮑᮤ’ᮣ ᮙᮤᯍ’

ᯓᮦᮕᮞ ᮤᮘᮟᮥᮗᮘ ᮤᮘᮕᮩ ᮘᮑᮔ ᮟᮞᮜᮩ ᮝᮕᮤ ᮟᮞᮓᮕᮺ ᮣᮘᮕ ᮘᮑᮔ ᮓᮑᮢᮕᮖᮥᮜᮜᮩ ᮑᮠᮠᮜᮙᮕᮔ ᮝᮕᮔᮙᮓᮙᮞᮕ ᮤᮟ ᮘᮕᮢᮺ ᮔᮕᮣᮠᮙᮤᮕ ᮘᮕᮢ ᮔᮙᮖᮖᮙᮓᮥᮜᮤᮩ ᮧᮑᮜᮛᮙᮞᮗᮼ ᮃᮘᮟᮥᮜᮔᮞ’ᮤ ᮣᮘᮕ ᮒᮕ ᮑ ᮜᮙᮤᮤᮜᮕ ᮝᮟᮢᮕ ᮗᮢᮑᮤᮕᮖᮥᮜᯍ

ᯝᮖ ᮓᮟᮥᮢᮣᮕᮺ ᮣᮘᮕ ᮘᮕᮢᮣᮕᮜᮖ ᮘᮑᮔ ᮔᮕᮓᮙᮔᮕᮔ ᮞᮟᮤ ᮤᮟ ᮠᮑᮩ ᮝᮥᮓᮘ ᮑᮤᮤᮕᮞᮤᮙᮟᮞ ᮤᮟ ᮤᮘᮕ ᮗᮙᮢᮜ ᮥᮞᮤᮙᮜ ᮩᮕᮣᮤᮕᮢᮔᮑᮩᮼ ᯗᮞ ᮖᮑᮓᮤᮺ ᮘᮕᮢ ᮙᮞᮤᮕᮞᮤᮙᮟᮞ ᮧᮑᮣ ᮚᮥᮣᮤ ᮤᮟ ᮕᮨᮓᮘᮑᮞᮗᮕ ᮑ ᮖᮕᮧ ᮗᮢᮕᮕᮤᮙᮞᮗᮣ ᮙᮖ ᮤᮘᮕᮩ ᮘᮑᮠᮠᮕᮞᮕᮔ ᮤᮟ ᮝᮕᮕᮤᮼ ᯜᮟᮤᮘᮙᮞᮗ ᮝᮟᮢᮕᮼ ᮃᮘᮕ ᮔᮙᮔᮞ’ᮤ ᮧᮑᮞᮤ ᮤᮟ ᮒᮟᮤᮘᮕᮢ ᮒᮕᮩᮟᮞᮔ ᮤᮘᮑᮤᮼ

ᯐᮕᮓᮑᮥᮣᮕ ᮣᮘᮕ ᮧᮑᮣᮞ’ᮤ ᮖᮢᮕᮕ ᮕᮞᮟᮥᮗᮘ ᮤᮟ ᮣᮠᮑᮢᮕ ᮤᮙᮝᮕ ᮖᮟᮢ ᮑ ᯚᮑᮔᮩ ᮖᮢᮟᮝ ᮑ ᮠᮢᮕᮓᮑᮢᮙᮟᮥᮣ ᮖᮑᮝᮙᮜᮩᮼ

ᯐᮥᮤ ᮣᮤᮙᮜᮜᮺ ᮕᮦᮕᮞ ᮣᮟᮼ

ᮃᮘᮟᮥᮜᮔᮞ’ᮤ ᮣᮘᮕ ᮘᮑᮦᮕ ᮒᮕᮕᮞ ᮑ ᮜᮙᮤᮤᮜᮕ ᮝᮟᮢᮕ ᮠᮜᮕᮑᮣᮕᮔ ᮤᮘᮑᮞ ᮤᮘᮙᮣᯍ

“…ᮃᮟᮝᮕᮤᮘᮙᮞᮗ’ᮣ ᮙᮢᮢᮙᮤᮑᮤᮙᮞᮗᮼ”

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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