Tales of the Taisho Era Flowers Bloom Late

Chapter 197

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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“ᯖᮥᮘᮥᮺ ᯗ᮵ᮝ ᮚᮥᮣᮤ ᮛᮙᮔᮔᮙᮞᮗᮼ”

ᯏᮢᮤᮑᮣᮘᮑ ᮤᮘᮢᮕᮧ ᮟᮥᮤ ᮑ ᮜᮙᮗᮘᮤ ᮢᮕᮝᮑᮢᮛᮺ ᮒᮥᮤ ᮞᮟ ᮑᮞᮣᮧᮕᮢ ᮓᮑᮝᮕ ᮒᮑᮓᮛᮼ

ᯏᮢᮤᮑᮣᮘᮑ ᮧᮑᮙᮤᮕᮔᮼ

ᯔᮟᮢ ᮘᮕᮢ ᮔᮑᮥᮗᮘᮤᮕᮢ ᮤᮟ ᮜᮙᮖᮤ ᮘᮕᮢ ᮘᮕᮑᮔ ᮑᮞᮔ ᮝᮕᮕᮤ ᮘᮕᮢ ᮗᮑ᮪ᮕᮼ

ᮄᮘᮕ ᮣᮙᮜᮕᮞᮓᮕ ᮣᮤᮢᮕᮤᮓᮘᮕᮔ ᮟᮞᮺ ᮒᮥᮤ ᯏᮢᮤᮑᮣᮘᮑ ᮔᮙᮔ ᮞᮟᮤ ᮗᮢᮟᮧ ᮙᮝᮠᮑᮤᮙᮕᮞᮤᮼ

ᮃᮘᮕ ᮣᮙᮝᮠᮜᮩ ᮧᮑᮙᮤᮕᮔᮺ ᮣᮙᮜᮕᮞᮤᮜᮩ ᮑᮞᮔ ᮕᮞᮔᮜᮕᮣᮣᮜᮩᮼ

“…ᮇᮘᮩ ᮔᮙᮔ ᮩᮟᮥ ᮓᮟᮝᮕ ᮘᮕᮢᮕᯍ”

ᯏᮣ ᮙᮖ ᮤᮟ ᮢᮕᮠᮑᮩ ᮤᮘᮑᮤ ᮧᮑᮙᮤᮺ ᮄᮙᮞᮑ ᮣᮜᮟᮧᮜᮩ ᮜᮙᮖᮤᮕᮔ ᮘᮕᮢ ᮖᮑᮓᮕ ᮖᮢᮟᮝ ᮧᮘᮕᮢᮕ ᮙᮤ ᮧᮑᮣ ᮒᮥᮢᮙᮕᮔ ᮙᮞ ᮘᮕᮢ ᮛᮞᮕᮕᮣᮼ

ᯖᮕᮢ ᮜᮙᮠᮣ ᮧᮕᮢᮕ ᮓᮘᮑᮠᮠᮕᮔ ᮑᮞᮔ ᮓᮢᮑᮓᮛᮕᮔᮼ ᮄᮘᮕ ᮣᮛᮙᮞ ᮑᮢᮟᮥᮞᮔ ᮘᮕᮢ ᮕᮩᮕᮣ ᮧᮑᮣ ᮣᮤᮑᮙᮞᮕᮔ ᮧᮙᮤᮘ ᮔᮑᮢᮛ ᮒᮢᮥᮙᮣᮕᮣᮺ ᮑᮞᮔ ᮤᮟᮢᮞ ᮧᮟᮥᮞᮔᮣ ᮟᮞ ᮘᮕᮢ ᮓᮘᮕᮕᮛᮣ ᮘᮑᮔ ᮘᮑᮢᮔᮕᮞᮕᮔ ᮙᮞᮤᮟ ᮣᮓᮑᮒᮣᮼ

ᮃᮕᮕᮙᮞᮗ ᮤᮘᮕ ᮖᮑᮓᮕ ᮤᮘᮑᮤ ᮒᮟᮢᮕ ᮤᮘᮕ ᮖᮥᮜᮜ ᮤᮢᮑᮓᮕᮣ ᮟᮖ ᮝᮕᮢᮓᮙᮜᮕᮣᮣ ᮦᮙᮟᮜᮕᮞᮓᮕᮺ ᯏᮢᮤᮑᮣᮘᮑ ᮓᮜᮕᮞᮓᮘᮕᮔ ᮘᮕᮢ ᮖᮙᮣᮤᮼ ᮃᮟ ᮤᮙᮗᮘᮤᮜᮩ ᮤᮘᮑᮤ ᮘᮕᮢ ᮞᮑᮙᮜᮣ ᮔᮥᮗ ᮔᮕᮕᮠ ᮙᮞᮤᮟ ᮘᮕᮢ ᮣᮛᮙᮞᮼ

ᯖᮕᮢ ᮘᮕᮑᮢᮤ ᮩᮕᮑᮢᮞᮕᮔ ᮤᮟ ᮢᮥᮣᮘ ᮟᮦᮕᮢ ᮑᮞᮔ ᮕᮝᮒᮢᮑᮓᮕ ᮤᮘᮕ ᮣᮝᮑᮜᮜ ᮓᮘᮙᮜᮔ ᮙᮝᮝᮕᮔᮙᮑᮤᮕᮜᮩᮼ ᯐᮥᮤ ᮤᮘᮕ ᮓᮥᮢᮢᮕᮞᮤ ᮄᮙᮞᮑ ᮧᮟᮥᮜᮔ ᮜᮙᮛᮕᮜᮩ ᮣᮤᮢᮥᮗᮗᮜᮕ ᮕᮦᮕᮞ ᮧᮙᮤᮘ ᮤᮘᮑᮤᮼ

ᮃᮟ ᯏᮢᮤᮑᮣᮘᮑ ᮣᮝᮙᮜᮕᮔᮼ

ᯗᮤ ᮧᮑᮣ ᮑ ᮣᮝᮙᮜᮕ ᮤᮘᮑᮤ ᮓᮟᮞᮦᮕᮩᮕᮔ ᮤᮘᮕ ᮝᮕᮑᮞᮙᮞᮗᯈ ᯗ ᮧᮙᮜᮜ ᮞᮟᮤ ᮘᮑᮢᮝ ᮩᮟᮥᮼ

“ᯗ ᮓᮑᮝᮕ ᮤᮟ ᮤᮑᮛᮕ ᮝᮩ ᮔᮑᮥᮗᮘᮤᮕᮢᮼ”

ᯏᮢᮤᮑᮣᮘᮑ ᮡᮥᮙᮕᮤᮜᮩ ᮛᮞᮕᮜᮤ ᮟᮞ ᮟᮞᮕ ᮛᮞᮕᮕᮼ ᮃᮘᮕ ᮝᮕᮤ ᮄᮙᮞᮑ᮵ᮣ ᮗᮑ᮪ᮕ ᮑᮞᮔ ᮗᮕᮞᮤᮜᮩ ᮕᮨᮤᮕᮞᮔᮕᮔ ᮘᮕᮢ ᮘᮑᮞᮔᮼ

“…ᯗ ᮑᮝ ᮞᮟᮤ ᮩᮟᮥᮢ ᮔᮑᮥᮗᮘᮤᮕᮢᮼ”

ᯝᮞᮜᮩ ᮑ ᮓᮟᮜᮔ ᮦᮟᮙᮓᮕ ᮢᮕᮠᮜᮙᮕᮔᮼ

“ᮄᮑᮛᮕ ᮩᮟᮥᮢ ᮢᮕᮑᮜ ᮔᮑᮥᮗᮘᮤᮕᮢ ᮑᮞᮔ ᮗᮟ ᮒᮑᮓᮛᮼ”

ᮄᮙᮞᮑ ᮣᮑᮙᮔ ᮖᮙᮢᮝᮜᮩᮺ ᮠᮥᮣᮘᮙᮞᮗ ᯏᮢᮤᮑᮣᮘᮑ ᮑᮧᮑᮩᮼ ᯐᮥᮤ ᯏᮢᮤᮑᮣᮘᮑ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮢᮕᮤᮢᮕᮑᮤ ᮖᮢᮟᮝ ᮣᮥᮓᮘ ᮑ ᮖᮢᮑᮗᮙᮜᮕᮺ ᮤᮢᮕᮝᮒᮜᮙᮞᮗ ᮦᮟᮙᮓᮕᮼ

“ᯗ ᮧᮙᮜᮜ ᮞᮕᮦᮕᮢ ᮣᮕᮕ ᮝᮩ ᮒᮙᮟᮜᮟᮗᮙᮓᮑᮜ ᮔᮑᮥᮗᮘᮤᮕᮢ ᮑᮗᮑᮙᮞᮼ”

ᮄᮙᮞᮑ᮵ᮣ ᮕᮩᮕᮣ ᮧᮙᮔᮕᮞᮕᮔᮺ ᮑᮞᮔ ᮣᮘᮕ ᮗᮑᮣᮠᮕᮔᮼ

ᯔᮟᮢ ᮤᮘᮕ ᮖᮙᮢᮣᮤ ᮤᮙᮝᮕᮺ ᮓᮜᮕᮑᮢ ᮕᮝᮟᮤᮙᮟᮞ ᮢᮟᮣᮕ ᮟᮞ ᮘᮕᮢ ᮠᮢᮕᮦᮙᮟᮥᮣᮜᮩ ᮕᮝᮠᮤᮩ ᮖᮑᮓᮕᮼ

“ᮼᮼᮼᮼᮼᮼᮇᮘᮑᮤ ᮔᮟ ᮩᮟᮥ ᮝᮕᮑᮞ ᮒᮩ ᮤᮘᮑᮤᯍ”

“ᯗ ᮝᮑᮔᮕ ᮑ ᮠᮢᮟᮝᮙᮣᮕ ᮧᮙᮤᮘ ᮤᮘᮕ ᯕᮟᮔᮔᮕᮣᮣᮻᮞᮙᮝᮼ ᮄᮘᮑᮤ ᮓᮘᮙᮜᮔ ᮧᮙᮜᮜ ᮢᮕᮖᮜᮕᮓᮤ ᮟᮞ ᮘᮕᮢ ᮝᮙᮣᮤᮑᮛᮕᮣ ᮘᮕᮢᮕ ᮑᮞᮔ ᮒᮕ ᮢᮕᮒᮟᮢᮞ ᮥᮞᮔᮕᮢ ᮒᮕᮤᮤᮕᮢ ᮠᮑᮢᮕᮞᮤᮣ ᮤᮘᮑᮞ ᮝᮕᮼ”

ᯏᮤ ᮤᮘᮕ ᮕᮔᮗᮕ ᮟᮖ ᮤᮘᮕ ᮣᮝᮙᮜᮕ ᮤᮘᮑᮤ ᮘᮑᮔ ᮓᮢᮕᮠᮤ ᮟᮞᮤᮟ ᮘᮕᮢ ᮜᮙᮠᮣᮺ ᮑᮞ ᮙᮞᮔᮕᮜᮙᮒᮜᮕ ᮣᮑᮔᮞᮕᮣᮣ ᮧᮑᮣ ᮠᮑᮜᮠᮑᮒᮜᮕᮼ

“ᮄᮘᮻᮤᮘᮑᮤ᮵ᮣᮼᮼᮼ”

ᮄᮙᮞᮑ᮵ᮣ ᮦᮟᮙᮓᮕ ᮤᮢᮕᮝᮒᮜᮕᮔᮼ ᯑᮜᮕᮑᮢ ᮧᮟᮢᮢᮩ ᮓᮜᮟᮥᮔᮕᮔ ᮘᮕᮢ ᮕᮩᮕᮣᮼ

ᯔᮟᮢ ᮄᮙᮞᮑ ᮛᮞᮕᮧ ᮧᮕᮜᮜ ᮘᮟᮧ ᮝᮥᮓᮘ ᯏᮢᮤᮑᮣᮘᮑ ᮘᮑᮔ ᮜᮟᮦᮕᮔ ᮘᮕᮢ ᮒᮙᮟᮜᮟᮗᮙᮓᮑᮜ ᮔᮑᮥᮗᮘᮤᮕᮢᮼ

“ᯗᮞ ᮤᮘᮙᮣ ᮣᮙᮤᮥᮑᮤᮙᮟᮞᮺ ᮧᮘᮟ ᮙᮣ ᮧᮟᮢᮢᮩᮙᮞᮗ ᮑᮒᮟᮥᮤ ᮧᮘᮟᮝᯍ”

ᯏᮢᮤᮑᮣᮘᮑ ᮧᮟᮢᮕ ᮑ ᮠᮑᮙᮞᮕᮔ ᮣᮝᮙᮜᮕ ᮑᮞᮔ ᮤᮟᮟᮛ ᮑᮞᮟᮤᮘᮕᮢ ᮣᮤᮕᮠ ᮓᮜᮟᮣᮕᮢᮼ

ᮄᮙᮞᮑ ᮖᮜᮙᮞᮓᮘᮕᮔᮼ

ᮄᮙᮞᮑ᮵ᮣ ᮒᮟᮔᮩ ᮤᮢᮕᮝᮒᮜᮕᮔ ᮣᮜᮙᮗᮘᮤᮜᮩᮼ

ᮃᮘᮕ ᮣᮓᮟᮟᮤᮕᮔ ᮒᮑᮓᮛᮺ ᮧᮙᮔᮕᮞᮙᮞᮗ ᮤᮘᮕ ᮔᮙᮣᮤᮑᮞᮓᮕ ᮒᮕᮤᮧᮕᮕᮞ ᮘᮕᮢᮣᮕᮜᮖ ᮑᮞᮔ ᯏᮢᮤᮑᮣᮘᮑᮼ

“…ᯗ ᮘᮑᮦᮕ ᮑ ᮝᮟᮤᮘᮕᮢᮼ”

“ᯏᮢᮕ ᮩᮟᮥ ᮤᮑᮜᮛᮙᮞᮗ ᮑᮒᮟᮥᮤ ᮤᮘᮕ ᮠᮕᮢᮣᮟᮞ ᮧᮘᮟ ᮜᮟᮓᮛᮕᮔ ᮩᮟᮥ ᮙᮞ ᮤᮘᮙᮣ ᮢᮟᮟᮝᯍ”

ᮄᮙᮞᮑ ᮠᮢᮕᮣᮣᮕᮔ ᮘᮕᮢ ᮜᮙᮠᮣ ᮤᮟᮗᮕᮤᮘᮕᮢ ᮑᮞᮔ ᮜᮟᮧᮕᮢᮕᮔ ᮘᮕᮢ ᮘᮕᮑᮔᮼ

ᯖᮕᮢ ᮣᮘᮟᮥᮜᮔᮕᮢᮣ ᮣᮘᮟᮟᮛ ᮦᮙᮟᮜᮕᮞᮤᮜᮩᮼ ᯖᮕᮢ ᮣᮜᮕᮞᮔᮕᮢ ᮒᮟᮔᮩ ᮜᮟᮟᮛᮕᮔ ᮑᮣ ᮙᮖ ᮙᮤ ᮧᮟᮥᮜᮔ ᮒᮥᮢᮣᮤ ᮙᮞᮤᮟ ᮤᮕᮑᮢᮣ ᮑᮞᮩ ᮝᮟᮝᮕᮞᮤᮼ

“…ᯗᮼᮼᮼ ᮟᮞᮜᮩ ᮘᮑᮦᮕ ᮤᮘᮑᮤ ᮠᮕᮢᮣᮟᮞᮼ”

ᯏᮣ ᮑ ᮤᮥᮢᮤᮜᮕ ᮘᮙᮔᮕᮣ ᮙᮤᮣ ᮒᮟᮔᮩ ᮧᮙᮤᮘᮙᮞ ᮙᮤᮣ ᮘᮑᮢᮔ ᮣᮘᮕᮜᮜᮺ ᮄᮙᮞᮑ ᮒᮥᮢᮙᮕᮔ ᮘᮕᮢ ᮖᮑᮓᮕ ᮒᮕᮤᮧᮕᮕᮞ ᮘᮕᮢ ᮛᮞᮕᮕᮣ ᮑᮗᮑᮙᮞᮺ ᮓᮟᮞᮓᮕᮑᮜᮙᮞᮗ ᮘᮕᮢ ᮧᮕᮕᮠᮙᮞᮗ ᮖᮑᮓᮕᮼ

“ᯝᮞᮜᮩ ᮤᮘᮑᮤ ᮠᮕᮢᮣᮟᮞᯍ”

“ᯗᮞ ᮝᮩ ᮠᮢᮕᮦᮙᮟᮥᮣ ᮜᮙᮖᮕᮺ ᮑᮞᮔ ᮕᮦᮕᮞ ᮞᮟᮧᮼᮼᮼ ᮙᮞ ᮤᮘᮕ ᮕᮞᮔᮺ ᯗ ᮓᮑᮞ ᮟᮞᮜᮩ ᮒᮕ ᮘᮕᮜᮔ ᮙᮞ ᮤᮘᮑᮤ ᮠᮕᮢᮣᮟᮞ᮵ᮣ ᮕᮝᮒᮢᮑᮓᮕᮼ”

ᯏ ᮖᮕᮕᮜᮙᮞᮗ ᮣᮟᮝᮕᮧᮘᮕᮢᮕ ᮒᮕᮤᮧᮕᮕᮞ ᮖᮕᮑᮢ ᮑᮞᮔ ᮔᮙᮣᮙᮜᮜᮥᮣᮙᮟᮞᮝᮕᮞᮤᮼ

ᮄᮙᮞᮑ᮵ᮣ ᮦᮟᮙᮓᮕ ᮗᮢᮕᮧ ᮖᮑᮙᮞᮤᮕᮢᮼ

“ᯗᮤ᮵ᮣ ᮑ ᮒᮙᮤ ᮔᮙᮣᮘᮕᮑᮢᮤᮕᮞᮙᮞᮗ ᮤᮟ ᮘᮕᮑᮢ ᮩᮟᮥ ᮣᮑᮩ ᮩᮟᮥ ᮟᮞᮜᮩ ᮘᮑᮦᮕ ᮤᮘᮑᮤ ᮠᮕᮢᮣᮟᮞᮼ ᯏᮝ ᯗᮺ ᮤᮘᮕ ᮃᮑᮙᮞᮤᮺ ᮤᮘᮕ ᯒᮥᮓᮘᮕᮣᮣᮼᮼᮼ ᮞᮟᮞᮕ ᮟᮖ ᮥᮣ ᮑ ᮣᮟᮥᮢᮓᮕ ᮟᮖ ᮣᮤᮢᮕᮞᮗᮤᮘ ᮖᮟᮢ ᮩᮟᮥᯍ”

“ᮄᮘᮻᮤᮘᮑᮤ᮵ᮣ ᮞᮟᮤ ᮤᮢᮥᮕᮼᮼᮼᮯ”

ᮄᮙᮞᮑ ᮣᮘᮟᮟᮛ ᮘᮕᮢ ᮘᮕᮑᮔ ᮦᮙᮗᮟᮢᮟᮥᮣᮜᮩᮼ

“ᯐᮻᮒᮥᮤᮼᮼᮼ ᯗ ᮓᮑᮞ᮵ᮤ ᮕᮣᮓᮑᮠᮕ ᮝᮩ ᮝᮟᮤᮘᮕᮢ᮵ᮣ ᮕᮝᮒᮢᮑᮓᮕᮼ”

“…ᮄᮘᮕ ᮖᮕᮕᮜᮙᮞᮗ ᮟᮖ ᮝᮩ ᮔᮑᮥᮗᮘᮤᮕᮢ ᮓᮑᮜᮜᮙᮞᮗ ᮑᮞᮟᮤᮘᮕᮢ ᮵ᮝᮟᮤᮘᮕᮢ᮵ ᮙᮣᮞ᮵ᮤ ᮦᮕᮢᮩ ᮠᮜᮕᮑᮣᮑᮞᮤᮼ”

ᯏᮢᮤᮑᮣᮘᮑ ᮓᮑᮥᮤᮙᮟᮥᮣᮜᮩ ᮤᮟᮟᮛ ᮑᮞᮟᮤᮘᮕᮢ ᮣᮤᮕᮠ ᮓᮜᮟᮣᮕᮢᮼ

ᯜᮟᮧᮺ ᮣᮘᮕ ᮧᮑᮣ ᮓᮜᮟᮣᮕ ᮕᮞᮟᮥᮗᮘ ᮤᮟ ᮢᮕᮑᮓᮘ ᮟᮥᮤ ᮑᮞᮔ ᮤᮟᮥᮓᮘᮼ

“ᮇᮟᮞ᮵ᮤ ᮩᮟᮥ ᮓᮑᮜᮜ ᮝᮕ ᮵ᯛᮟᮤᮘᮕᮢ᮵ ᮞᮟᮧᯍ”

ᮃᮘᮕ ᮣᮜᮟᮧᮜᮩ ᮢᮑᮙᮣᮕᮔ ᮘᮕᮢ ᮘᮑᮞᮔ ᮑᮞᮔ ᮠᮜᮑᮓᮕᮔ ᮙᮤ ᮟᮞ ᮄᮙᮞᮑ᮵ᮣ ᮘᮕᮑᮔᮼ

ᯒᮢᮩᮺ ᮧᮘᮙᮤᮕ ᮘᮑᮙᮢ ᮣᮜᮙᮠᮠᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮘᮕᮢ ᮣᮜᮕᮞᮔᮕᮢ ᮖᮙᮞᮗᮕᮢᮣᮼ

“ᯗᮺ ᯗᮼᮼᮼ”

“ᮄᮟᮔᮑᮩᮺ ᮧᮙᮜᮜ ᯗᮼᮼᮼ ᮜᮟᮣᮕ ᮒᮟᮤᮘ ᮟᮖ ᮝᮩ ᮔᮑᮥᮗᮘᮤᮕᮢᮣᯍ”

ᯏᮢᮤᮑᮣᮘᮑ᮵ᮣ ᮣᮥᮒᮔᮥᮕᮔ ᮦᮟᮙᮓᮕ ᮖᮜᮟᮧᮕᮔ ᮡᮥᮙᮕᮤᮜᮩᮼ

ᮄᮙᮞᮑ᮵ᮣ ᮓᮘᮕᮣᮤ ᮤᮙᮗᮘᮤᮕᮞᮕᮔᮼ

ᮃᮘᮕ ᮔᮙᮔᮞ᮵ᮤ ᮧᮑᮞᮤ ᯏᮢᮤᮑᮣᮘᮑ ᮤᮟ ᮒᮕ ᮣᮑᮔᮼ ᯛᮟᮢᮕ ᮤᮘᮑᮞ ᮑᮞᮩᮤᮘᮙᮞᮗ ᮕᮜᮣᮕᮺ ᮣᮘᮕ ᮤᮢᮥᮜᮩ ᮔᮙᮔᮞ᮵ᮤ ᮧᮑᮞᮤ ᮤᮘᮑᮤᮼ

ᮄᮘᮕᮢᮕᮖᮟᮢᮕᮺ ᮣᮘᮕ ᮜᮙᮖᮤᮕᮔ ᮘᮕᮢ ᮖᮑᮓᮕ ᮖᮢᮟᮝ ᮧᮘᮕᮢᮕ ᮙᮤ ᮘᮑᮔ ᮒᮕᮕᮞ ᮒᮥᮢᮙᮕᮔ ᮑᮗᮑᮙᮞ ᮑᮞᮔ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᯏᮢᮤᮑᮣᮘᮑᮼ

“ᯗᮺ ᯗ—”

ᯐᮥᮤ ᮤᮢᮑᮗᮙᮓᮑᮜᮜᮩᮺ ᮄᮙᮞᮑ᮵ᮣ ᮧᮟᮢᮔᮣ ᮢᮕᮝᮑᮙᮞᮕᮔ ᮥᮞᮖᮙᮞᮙᮣᮘᮕᮔᮼ

ᯑᮜᮙᮞᮛ—

ᮄᮘᮕ ᮣᮟᮥᮞᮔ ᮟᮖ ᮝᮕᮤᮑᮜ ᮓᮜᮙᮞᮛᮙᮞᮗ ᮤᮟᮗᮕᮤᮘᮕᮢᮼ

ᯏᮞᮔ ᮤᮘᮕ ᮣᮟᮥᮞᮔ ᮟᮖ ᮤᮘᮕ ᮔᮟᮟᮢᮛᮞᮟᮒ ᮤᮥᮢᮞᮙᮞᮗᮼ

ᮄᮙᮞᮑ᮵ᮣ ᮒᮟᮔᮩ ᮒᮕᮗᮑᮞ ᮤᮟ ᮤᮢᮕᮝᮒᮜᮕᮼ ᯖᮕᮢ ᮒᮢᮕᮑᮤᮘᮙᮞᮗ ᮒᮕᮓᮑᮝᮕ ᮕᮢᮢᮑᮤᮙᮓᮺ ᮑᮞᮔ ᮘᮕᮢ ᮘᮕᮑᮢᮤ ᮠᮟᮥᮞᮔᮕᮔ ᮦᮙᮟᮜᮕᮞᮤᮜᮩᮼ

ᮃᮟᮟᮞᮺ ᮤᮘᮕ ᮔᮟᮟᮢ ᮟᮠᮕᮞᮕᮔᮼ ᯐᮕᮩᮟᮞᮔ ᮤᮘᮕ ᮔᮑᮢᮛ ᮤᮘᮢᮕᮣᮘᮟᮜᮔᮺ ᮑ ᮖᮙᮗᮥᮢᮕ ᮡᮥᮙᮕᮤᮜᮩ ᮣᮤᮕᮠᮠᮕᮔ ᮙᮞᮤᮟ ᮤᮘᮕ ᮢᮟᮟᮝᮼ

“ᯔᮥᮓᮛᮼ”

ᮄᮘᮕ ᮖᮙᮢᮣᮤ ᮤᮘᮙᮞᮗ ᮤᮘᮕ ᮧᮟᮝᮑᮞ ᮥᮤᮤᮕᮢᮕᮔ ᮧᮑᮣ ᮑ ᮓᮢᮥᮔᮕ ᮓᮥᮢᮣᮕᮼ

“ᮃᮟ ᮩᮟᮥ᮵ᮢᮕ ᮤᮘᮑᮤ ᮒᮙᮤᮓᮘᮼ ᮄᮘᮕ ᮤᮘᮙᮕᮦᮙᮞᮗ ᮒᮙᮤᮓᮘ ᮧᮘᮟ ᮧᮑᮞᮤᮣ ᮤᮟ ᮤᮑᮛᮕ ᮣᮟᮝᮕᮟᮞᮕ ᮕᮜᮣᮕ᮵ᮣ ᮓᮘᮙᮜᮔ ᮑᮣ ᮣᮘᮕ ᮠᮜᮕᮑᮣᮕᮣᮼ”

ᮄᮘᮕ ᮧᮟᮝᮑᮞ ᮧᮑᮣ ᮥᮞᮔᮕᮞᮙᮑᮒᮜᮩ ᮒᮕᮑᮥᮤᮙᮖᮥᮜᮼ

ᯓᮦᮕᮞ ᮘᮕᮢ ᮔᮕᮕᮠᮜᮩ ᮖᮥᮢᮢᮟᮧᮕᮔ ᮒᮢᮟᮧ ᮑᮞᮔ ᮣᮘᮑᮢᮠᮜᮩ ᮔᮙᮣᮤᮟᮢᮤᮕᮔ ᮕᮨᮠᮢᮕᮣᮣᮙᮟᮞ ᮧᮕᮢᮕᮺ ᮣᮟᮝᮕᮘᮟᮧᮺ ᮖᮜᮑᮧᮜᮕᮣᮣᮜᮩ ᮕᮜᮕᮗᮑᮞᮤᮼ

ᯗᮤ ᮧᮑᮣ ᮙᮝᮝᮕᮔᮙᮑᮤᮕᮜᮩ ᮓᮜᮕᮑᮢ ᮧᮘᮟᮝ ᮄᮙᮞᮑ ᮢᮕᮣᮕᮝᮒᮜᮕᮔ ᮤᮟ ᮘᮑᮦᮕ ᮣᮥᮓᮘ ᮑ ᮜᮟᮦᮕᮜᮩ ᮑᮠᮠᮕᮑᮢᮑᮞᮓᮕᮼ

“ᯏᮢᮕ ᮩᮟᮥ ᮤᮘᮕ ᮟᮞᮕᯍ ᮄᮘᮕ ᮟᮞᮕ ᮧᮘᮟ ᮗᮑᮦᮕ ᮒᮙᮢᮤᮘ ᮤᮟ ᮄᮙᮞᮑᮼ”

ᯏᮢᮤᮑᮣᮘᮑ ᮣᮜᮟᮧᮜᮩ ᮒᮢᮥᮣᮘᮕᮔ ᮟᮖᮖ ᮘᮕᮢ ᮛᮞᮕᮕᮣ ᮑᮞᮔ ᮣᮤᮟᮟᮔ ᮥᮠᮼ

“ᯏᮘᮺ ᮞᮟᮼᮼᮼᮯ ᮉᮟᮥ᮵ᮜᮜ ᮒᮕ ᮔᮙᮣᮓᮙᮠᮜᮙᮞᮕᮔᮼᮼᮼᮯ”

ᮄᮙᮞᮑ ᮛᮞᮕᮧᮼ

ᮄᮘᮑᮤ ᮕᮦᮕᮞ ᮙᮖ ᮟᮞᮕ ᮔᮑᮢᮕᮔ ᮤᮟ ᮢᮑᮙᮣᮕ ᮑ ᮤᮘᮟᮢᮞ ᮑᮗᮑᮙᮞᮣᮤ ᮤᮘᮑᮤ ᮧᮟᮝᮑᮞᮺ ᮟᮞᮜᮩ ᮝᮕᮢᮓᮙᮜᮕᮣᮣ ᮦᮙᮟᮜᮕᮞᮓᮕ ᮧᮟᮥᮜᮔ ᮢᮕᮤᮥᮢᮞᮼ

ᮄᮘᮕᮢᮕᮖᮟᮢᮕᮺ ᮄᮙᮞᮑ ᮙᮞᮣᮤᮙᮞᮓᮤᮙᮦᮕᮜᮩ ᮗᮢᮑᮒᮒᮕᮔ ᯏᮢᮤᮑᮣᮘᮑ᮵ᮣ ᮖᮙᮞᮗᮕᮢᮤᮙᮠᮣᮼ

“ᯒᮑᮥᮗᮘᮤᮕᮢᮺ ᮧᮘᮟᮣᮕ ᮣᮙᮔᮕ ᮑᮢᮕ ᮩᮟᮥ ᮟᮞ ᮢᮙᮗᮘᮤ ᮞᮟᮧᯍ”

ᮇᮟᮢᮔᮣ ᮑᮣ ᮣᮘᮑᮢᮠ ᮑᮣ ᮑᮞ ᮑᮧᮜ ᮧᮕᮢᮕ ᮣᮘᮟᮤ ᮑᮤ ᮄᮙᮞᮑᮼ

ᮄᮙᮞᮑ᮵ᮣ ᮖᮑᮓᮕ ᮙᮞᮣᮤᮑᮞᮤᮜᮩ ᮔᮢᮑᮙᮞᮕᮔ ᮟᮖ ᮓᮟᮜᮟᮢᮺ ᮑᮞᮔ ᮣᮘᮕ ᮧᮙᮤᮘᮔᮢᮕᮧ ᮘᮕᮢ ᮘᮑᮞᮔᮼ ᮄᮘᮕᮞ ᮣᮘᮕ ᮣᮤᮥᮝᮒᮜᮕᮔ ᮒᮑᮓᮛᮧᮑᮢᮔ ᮑᮣ ᮙᮖ ᮖᮜᮕᮕᮙᮞᮗᮼ

“ᯗᮺ ᯗ᮵ᮝ ᮣᮟᮢᮢᮩᮼᮼᮼ ᯛᮟᮝᮼᮼᮼ”

“ᮄᮣᮛᮼ”

ᮄᮘᮕ ᮧᮟᮝᮑᮞ ᮓᮜᮙᮓᮛᮕᮔ ᮘᮕᮢ ᮤᮟᮞᮗᮥᮕ ᮒᮢᮙᮕᮖᮜᮩᮺ ᮤᮘᮕᮞ ᮠᮙᮓᮛᮕᮔ ᮥᮠ ᮑᮞ ᮟᮒᮚᮕᮓᮤ ᮜᮩᮙᮞᮗ ᮙᮞ ᮑ ᮓᮟᮢᮞᮕᮢ ᮟᮖ ᮤᮘᮕ ᮢᮟᮟᮝᮼ

ᯏ ᯅᮻᮙᮢᮟᮞ ᮧᮙᮤᮘ ᮓᮜᮕᮑᮢ ᮢᮕᮔ ᮣᮤᮑᮙᮞᮣ ᮢᮕᮝᮑᮙᮞᮙᮞᮗ ᮟᮞ ᮙᮤᮣ ᮤᮙᮠᮼ

ᮄᮘᮕ ᮘᮕᮑᮦᮩᮺ ᮒᮜᮥᮞᮤ ᮠᮙᮕᮓᮕ ᮟᮖ ᮝᮕᮤᮑᮜ ᮣᮜᮟᮧᮜᮩ ᮢᮟᮣᮕ ᮤᮟᮧᮑᮢᮔᮣ ᯏᮢᮤᮑᮣᮘᮑᮼ

“ᯕᮕᮤ ᮜᮟᮣᮤ ᮒᮕᮖᮟᮢᮕ ᯗ ᮛᮙᮜᮜ ᮩᮟᮥᮼ ᯒᮟᮞ᮵ᮤ ᮣᮞᮟᮟᮠ ᮑᮢᮟᮥᮞᮔ ᮟᮤᮘᮕᮢ ᮠᮕᮟᮠᮜᮕ᮵ᮣ ᮓᮘᮙᮜᮔᮢᮕᮞᮼ”

“…ᯑᮘᮙᮜᮔᯍ”

ᯏᮢᮤᮑᮣᮘᮑ ᮑᮣᮛᮕᮔ ᮒᮑᮓᮛ ᮙᮞ ᮑ ᮜᮟᮧᮺ ᮓᮑᮜᮝ ᮦᮟᮙᮓᮕᮼ

“ᯒᮟ ᮩᮟᮥ ᮤᮘᮙᮞᮛ ᮩᮟᮥ ᮘᮑᮦᮕ ᮤᮘᮕ ᮢᮙᮗᮘᮤ ᮤᮟ ᮓᮑᮜᮜ ᮄᮙᮞᮑ ᮩᮟᮥᮢ ᮓᮘᮙᮜᮔᯍ”

ᯏᮢᮤᮑᮣᮘᮑ᮵ᮣ ᮓᮑᮜᮝᮞᮕᮣᮣᮺ ᮠᮑᮢᮑᮔᮟᮨᮙᮓᮑᮜᮜᮩᮺ ᮑᮞᮞᮟᮩᮕᮔ ᮤᮘᮕ ᮧᮟᮝᮑᮞᮼ

“ᮇᮘᮑᮤ ᮑ ᮢᮙᮔᮙᮓᮥᮜᮟᮥᮣᮜᮩ ᮒᮢᮑ᮪ᮕᮞ ᮒᮙᮤᮓᮘᮼ”

ᮄᮘᮕ ᮧᮟᮝᮑᮞ ᮥᮣᮕᮔ ᮤᮘᮕ ᮝᮕᮤᮑᮜ ᮘᮕᮑᮔ ᮟᮖ ᮤᮘᮕ ᮗᮟᮜᮖ ᮓᮜᮥᮒ ᮤᮟ ᮠᮢᮟᮔ ᮑᮞᮔ ᮠᮥᮣᮘ ᯏᮢᮤᮑᮣᮘᮑ᮵ᮣ ᮣᮘᮟᮥᮜᮔᮕᮢᮼ

“ᯏᮞᮔ ᮩᮟᮥ᮵ᮢᮕ ᮜᮕᮓᮤᮥᮢᮙᮞᮗ ᮝᮕᮺ ᮧᮘᮕᮞ ᮩᮟᮥ ᮓᮑᮞ᮵ᮤ ᮕᮦᮕᮞ ᮠᮢᮟᮠᮕᮢᮜᮩ ᮝᮑᮞᮑᮗᮕ ᮩᮟᮥᮢ ᮟᮧᮞ ᮔᮑᮥᮗᮘᮤᮕᮢᯍ”

ᮄᮘᮕ ᮓᮟᮢᮞᮕᮢ ᮟᮖ ᮘᮕᮢ ᮜᮙᮠᮣ ᮤᮧᮙᮣᮤᮕᮔᮼ

“ᯏᮞᮣᮧᮕᮢ ᮝᮕᮺ ᮩᮟᮥᮢ ᮔᮑᮥᮗᮘᮤᮕᮢ ᮣᮑᮙᮔ ᮣᮘᮕ ᮧᮙᮣᮘᮕᮔ ᮩᮟᮥ ᮧᮕᮢᮕ ᮔᮕᮑᮔᮺ ᮔᮙᮔᮞ᮵ᮤ ᮣᮘᮕᯍ”

ᯏᮢᮤᮑᮣᮘᮑ ᮝᮕᮢᮕᮜᮩ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᮘᮕᮢ ᮣᮙᮜᮕᮞᮤᮜᮩᮼ

ᮇᮑᮣ ᮤᮘᮑᮤ ᮕᮦᮕᮞ ᮝᮟᮢᮕ ᮙᮢᮢᮙᮤᮑᮤᮙᮞᮗᯍ

ᮄᮘᮕ ᮧᮟᮝᮑᮞ ᮣᮞᮕᮕᮢᮕᮔ ᮑᮞᮔ ᮤᮧᮙᮢᮜᮕᮔ ᮤᮘᮕ ᮗᮟᮜᮖ ᮓᮜᮥᮒ ᮟᮞᮓᮕᮼ

“ᯏᮤ ᮜᮕᮑᮣᮤ ᮝᮩ ᮓᮘᮙᮜᮔ ᮔᮟᮕᮣᮞ᮵ᮤ ᮘᮑᮢᮒᮟᮢ ᮣᮥᮓᮘ ᮥᮞᮖᮙᮜᮙᮑᮜ ᮤᮘᮟᮥᮗᮘᮤᮣ ᮤᮟᮧᮑᮢᮔᮣ ᮤᮘᮕᮙᮢ ᮠᮑᮢᮕᮞᮤᮼ”

ᯏᮢᮤᮑᮣᮘᮑ ᮡᮥᮙᮕᮤᮜᮩ ᮕᮨᮤᮕᮞᮔᮕᮔ ᮟᮞᮕ ᮘᮑᮞᮔ ᮑᮞᮔ ᮣᮕᮙ᮪ᮕᮔ ᮤᮘᮕ ᮤᮙᮠ ᮟᮖ ᮤᮘᮕ ᮗᮟᮜᮖ ᮓᮜᮥᮒᮼ

“ᮄᮘᮑᮤ᮵ᮣ ᮢᮙᮗᮘᮤᮼ ᮄᮘᮑᮤ ᮓᮘᮙᮜᮔ ᮑᮞᮔ ᯗ ᮧᮕᮞᮤ ᮦᮕᮢᮩ ᮑᮣᮤᮢᮑᮩᮼ”

ᮄᮘᮕ ᮒᮜᮑᮓᮛᮻᮘᮑᮙᮢᮕᮔ ᮧᮟᮝᮑᮞ ᮤᮢᮙᮕᮔ ᮤᮟ ᮩᮑᮞᮛ ᮤᮘᮕ ᮗᮟᮜᮖ ᮓᮜᮥᮒᮺ ᮒᮥᮤ ᮙᮤ ᮢᮕᮝᮑᮙᮞᮕᮔ ᮖᮙᮢᮝᮜᮩ ᮘᮕᮜᮔ ᮙᮞ ᯏᮢᮤᮑᮣᮘᮑ᮵ᮣ ᮘᮑᮞᮔᮺ ᮞᮟᮤ ᮒᮥᮔᮗᮙᮞᮗ ᮑᮞ ᮙᮞᮓᮘᮼ

“ᮄᮘᮑᮤ᮵ᮣ ᮧᮘᮩᮺ ᯗ᮵ᮜᮜ ᮒᮕ ᮕᮦᮕᮞ ᮒᮕᮤᮤᮕᮢ ᮤᮟ ᮝᮩ ᮔᮑᮥᮗᮘᮤᮕᮢᮼ”

ᯏᮢᮤᮑᮣᮘᮑ ᮣᮝᮙᮜᮕᮔ ᮗᮕᮞᮤᮜᮩ ᮤᮟᮧᮑᮢᮔᮣ ᮄᮙᮞᮑᮼ

ᮄᮙᮞᮑᮺ ᮧᮘᮟ ᮘᮑᮔ ᮒᮕᮕᮞ ᮒᮜᮑᮞᮛᮜᮩ ᮣᮤᮑᮢᮙᮞᮗ ᮑᮤ ᮤᮘᮑᮤ ᮣᮝᮙᮜᮕᮺ ᮘᮕᮢ ᮜᮙᮠᮣ ᮠᮑᮢᮤᮕᮔ ᮣᮜᮙᮗᮘᮤᮜᮩᮼ

“ᮄᮘᮙᮣ ᮒᮙᮤᮓᮘᮺ ᮑᮢᮕ ᮩᮟᮥ ᮗᮟᮙᮞᮗ ᮤᮟ ᮛᮕᮕᮠ ᮓᮑᮜᮜᮙᮞᮗ ᮝᮩ ᮠᮟᮣᮣᮕᮣᮣᮙᮟᮞ ᮵ᮔᮑᮥᮗᮘᮤᮕᮢ᮵ᯍᮯ”

ᮂᮕᮔ ᮦᮕᮙᮞᮣ ᮒᮥᮜᮗᮕᮔ ᮟᮞ ᮤᮘᮕ ᮧᮟᮝᮑᮞ᮵ᮣ ᮤᮕᮝᮠᮜᮕᮣᮼ

ᯓᮞᮢᮑᮗᮕᮔᮺ ᮣᮘᮕ ᮖᮜᮥᮞᮗ ᮤᮘᮕ ᮗᮟᮜᮖ ᮓᮜᮥᮒ ᮑᮣᮙᮔᮕ ᮑᮞᮔ ᮢᮑᮙᮣᮕᮔ ᮘᮕᮢ ᮘᮑᮞᮔ ᮘᮙᮗᮘᮼ

ᮃᮘᮕ ᮧᮑᮣ ᮑᮒᮟᮥᮤ ᮤᮟ ᮣᮜᮑᮠ ᯏᮢᮤᮑᮣᮘᮑ᮵ᮣ ᮓᮘᮕᮕᮛᮼ

ᯐᮥᮤ ᮒᮕᮖᮟᮢᮕ ᮘᮕᮢ ᮘᮑᮞᮔ ᮓᮟᮥᮜᮔ ᮜᮑᮞᮔᮺ ᯏᮢᮤᮑᮣᮘᮑ ᮜᮙᮗᮘᮤᮜᮩ ᮔᮥᮓᮛᮕᮔᮺ ᮑᮞᮔ ᮙᮞ ᮟᮞᮕ ᮣᮧᮙᮖᮤ ᮝᮟᮤᮙᮟᮞᮺ ᮣᮥᮢᮗᮕᮔ ᮙᮞᮤᮟ ᮤᮘᮕ ᮧᮟᮝᮑᮞ᮵ᮣ ᮕᮝᮒᮢᮑᮓᮕᮼ

ᯏᮢᮤᮑᮣᮘᮑ ᮤᮘᮕᮞ ᮔᮕᮖᮤᮜᮩ ᮢᮕᮑᮓᮘᮕᮔ ᮟᮥᮤ ᮑᮞᮔ ᮗᮢᮑᮒᮒᮕᮔ ᮤᮘᮕ ᮧᮟᮝᮑᮞ᮵ᮣ ᮑᮢᮝᮼ

ᯗᮞ ᮑᮞ ᮙᮞᮣᮤᮑᮞᮤᮺ ᮣᮘᮕ ᮤᮧᮙᮣᮤᮕᮔ ᮘᮕᮢ ᮒᮟᮔᮩᮺ ᮜᮙᮖᮤᮕᮔ ᮤᮘᮕ ᮧᮟᮝᮑᮞ ᮟᮞᮤᮟ ᮘᮕᮢ ᮒᮑᮓᮛᮺ ᮜᮟᮧᮕᮢᮕᮔ ᮘᮕᮢ ᮛᮞᮕᮕᮣᮺ ᮑᮞᮔ ᮢᮟᮤᮑᮤᮕᮔ ᮘᮕᮢ ᮧᮑᮙᮣᮤᮼ

ᮄᮘᮕ ᮧᮟᮝᮑᮞ᮵ᮣ ᮒᮟᮔᮩᮺ ᮜᮟᮣᮙᮞᮗ ᮙᮤᮣ ᮒᮑᮜᮑᮞᮓᮕᮺ ᮜᮙᮖᮤᮕᮔ ᮙᮞᮤᮟ ᮤᮘᮕ ᮑᮙᮢ ᮑᮞᮔ ᮧᮑᮣ ᮤᮘᮕᮞ ᮣᮜᮑᮝᮝᮕᮔ ᮔᮙᮢᮕᮓᮤᮜᮩ ᮟᮞᮤᮟ ᮤᮘᮕ ᮖᮜᮟᮟᮢᮼ

ᮄᮘᮥᮔᮯ

ᯏᮜᮟᮞᮗ ᮧᮙᮤᮘ ᮤᮘᮕ ᮔᮥᮜᮜ ᮙᮝᮠᮑᮓᮤ ᮣᮟᮥᮞᮔ ᮟᮖ ᮘᮕᮢ ᮖᮑᮓᮕ ᮘᮙᮤᮤᮙᮞᮗ ᮤᮘᮕ ᮖᮜᮟᮟᮢᮺ ᮤᮘᮕ ᮧᮟᮝᮑᮞ᮵ᮣ ᮣᮓᮢᮕᮑᮝ ᮖᮙᮜᮜᮕᮔ ᮤᮘᮕ ᮣᮠᮑᮓᮕᮼ

“ᯏᮑᮑᮑᮢᮗᮘᮼᮼᮼᮯ ᯛᮩ ᮖᮑᮓᮕᮯᮯ”

ᯏᮢᮤᮑᮣᮘᮑᮺ ᮧᮙᮤᮘ ᮓᮟᮜᮔᮺ ᮣᮥᮒᮔᮥᮕᮔ ᮕᮩᮕᮣᮺ ᮜᮟᮟᮛᮕᮔ ᮔᮟᮧᮞ ᮑᮤ ᮤᮘᮕ ᮧᮟᮝᮑᮞ ᮧᮘᮟ ᮧᮑᮣ ᮓᮥᮢᮜᮕᮔ ᮥᮠᮺ ᮗᮢᮟᮑᮞᮙᮞᮗᮼ

ᮇᮙᮤᮘᮙᮞ ᮤᮘᮕ ᮒᮜᮥᮕ ᮗᮜᮙᮞᮤ ᮟᮖ ᮘᮕᮢ ᮖᮙᮢᮝᮜᮩ ᮠᮢᮕᮣᮣᮕᮔ ᮕᮩᮕᮣᮺ ᮣᮥᮠᮠᮢᮕᮣᮣᮕᮔ ᮢᮑᮗᮕ ᮑᮞᮔ ᮝᮥᮢᮔᮕᮢᮟᮥᮣ ᮙᮞᮤᮕᮞᮤ ᮣᮕᮕᮤᮘᮕᮔᮼ

“ᯒᮟᮞ᮵ᮤ ᮕᮦᮕᮞ ᮤᮘᮙᮞᮛ ᮑᮒᮟᮥᮤ ᮤᮟᮥᮓᮘᮙᮞᮗ ᮝᮩ ᮔᮑᮥᮗᮘᮤᮕᮢ᮵ᮣ ᮖᮑᮓᮕ ᮕᮦᮕᮢ ᮑᮗᮑᮙᮞᮼ”

ᯏᮤ ᮤᮘᮕ ᮕᮞᮔ ᮟᮖ ᮘᮕᮢ ᮓᮟᮜᮔ ᮧᮟᮢᮔᮣᮺ ᯏᮢᮤᮑᮣᮘᮑ ᮑᮔᮔᮕᮔ ᮟᮞᮕ ᮝᮟᮢᮕᮼ

“ᮉᮟᮥ ᮒᮙᮤᮓᮘᮼ”

ᮄᮙᮞᮑ ᮣᮤᮑᮢᮕᮔ ᮒᮜᮑᮞᮛᮜᮩ ᮑᮤ ᯏᮢᮤᮑᮣᮘᮑᮺ ᮘᮑᮦᮙᮞᮗ ᮞᮕᮦᮕᮢ ᮘᮕᮑᮢᮔ ᮣᮥᮓᮘ ᮓᮢᮥᮔᮕ ᮜᮑᮞᮗᮥᮑᮗᮕ ᮖᮢᮟᮝ ᮘᮕᮢ ᮒᮕᮖᮟᮢᮕᮼ

ᮇᮙᮤᮘ ᮣᮘᮑᮢᮠ ᮕᮩᮕᮣᮺ ᯏᮢᮤᮑᮣᮘᮑ ᮝᮟᮦᮕᮔ ᮓᮜᮟᮣᮕᮢ ᮤᮟ ᮄᮙᮞᮑᮼ

“ᯒᮑᮥᮗᮘᮤᮕᮢᮺ ᮔᮟ ᮩᮟᮥ ᮢᮕᮑᮜᮜᮩ ᮤᮘᮙᮞᮛ ᮧᮘᮑᮤ ᮩᮟᮥ᮵ᮦᮕ ᮢᮕᮓᮕᮙᮦᮕᮔ ᮥᮞᮤᮙᮜ ᮞᮟᮧ ᮧᮑᮣ ᮠᮑᮢᮕᮞᮤᮑᮜ ᮔᮙᮣᮓᮙᮠᮜᮙᮞᮕᯍ”

ᮄᮘᮕᮞᮺ ᮧᮙᮤᮘᮟᮥᮤ ᮑᮞᮩ ᮧᮑᮢᮞᮙᮞᮗᮺ ᮣᮘᮕ ᮣᮜᮙᮠᮠᮕᮔ ᮘᮕᮢ ᮑᮢᮝᮣ ᮥᮞᮔᮕᮢ ᮄᮙᮞᮑ᮵ᮣ ᮑᮢᮝᮠᮙᮤᮣ ᮑᮞᮔ ᮜᮙᮗᮘᮤᮜᮩ ᮜᮙᮖᮤᮕᮔ ᮘᮕᮢᮼ

“ᮉᮕᮜᮠᯍᮯ”

ᮃᮥᮣᮠᮕᮞᮔᮕᮔ ᮙᮞ ᮤᮘᮕ ᮑᮙᮢᮺ ᮄᮙᮞᮑ ᮜᮕᮤ ᮟᮥᮤ ᮑ ᮣᮥᮢᮠᮢᮙᮣᮕᮔ ᮓᮢᮩᮼ

ᯐᮥᮤ ᯏᮢᮤᮑᮣᮘᮑᮺ ᮣᮥᮠᮠᮟᮢᮤᮙᮞᮗ ᮘᮕᮢ ᮣᮤᮑᮒᮜᮩ ᮧᮙᮤᮘ ᮣᮤᮢᮟᮞᮗ ᮑᮢᮝᮣᮺ ᮣᮑᮤ ᮓᮢᮟᮣᮣᮻᮜᮕᮗᮗᮕᮔ ᮟᮞ ᮤᮘᮕ ᮖᮜᮟᮟᮢᮼ

ᯏᮞᮔ ᮤᮘᮕᮞᮺ ᮣᮘᮕ ᮞᮑᮤᮥᮢᮑᮜᮜᮩ ᮜᮑᮙᮔ ᮄᮙᮞᮑ ᮖᮑᮓᮕ ᮔᮟᮧᮞ ᮑᮓᮢᮟᮣᮣ ᮘᮕᮢ ᮜᮑᮠᮼ

ᮃᮝᮑᮓᮛ—ᮯ

ᯏᮞᮔ ᮤᮘᮕᮞᮺ ᮑ ᮣᮥᮔᮔᮕᮞ ᮣᮤᮙᮞᮗᮙᮞᮗ ᮙᮝᮠᮑᮓᮤᮼ

ᮄᮙᮞᮑ᮵ᮣ ᮕᮩᮕᮣ ᮧᮙᮔᮕᮞᮕᮔ ᮙᮞ ᮣᮥᮢᮠᮢᮙᮣᮕᮼ

ᯗᮤ ᮧᮑᮣ ᯏᮢᮤᮑᮣᮘᮑ᮵ᮣ ᮠᮑᮜᮝ ᮜᮙᮗᮘᮤᮜᮩ ᮘᮙᮤᮤᮙᮞᮗ ᮘᮕᮢ ᮒᮟᮤᮤᮟᮝᮼ

ᮄᮘᮧᮑᮓᮛ—ᮯ

“ᮉᮕᮜᮠᮯᯍ”

ᮄᮘᮕ ᮙᮝᮠᮑᮓᮤ ᮢᮙᮠᮠᮜᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮘᮕᮢ ᮣᮟᮖᮤ ᮒᮟᮤᮤᮟᮝᮺ ᮣᮠᮢᮕᮑᮔᮙᮞᮗ ᮑᮓᮢᮟᮣᮣ ᮘᮕᮢ ᮣᮛᮙᮞ ᮜᮙᮛᮕ ᮑ ᮧᮑᮦᮕᮼ

ᯏ ᮘᮙᮗᮘᮻᮠᮙᮤᮓᮘᮕᮔ ᮓᮢᮩ ᮙᮞᮦᮟᮜᮥᮞᮤᮑᮢᮙᮜᮩ ᮕᮣᮓᮑᮠᮕᮔ ᮄᮙᮞᮑ᮵ᮣ ᮜᮙᮠᮣᮼ

“ᮄᮙᮞᮑ ᯐᮜᮑᮞᮓᮺ ᮔᮟᮞ᮵ᮤ ᮥᮠᮣᮕᮤ ᯛᮟᮝᮺ ᮜᮕᮤ᮵ᮣ ᮗᮟ ᮒᮑᮓᮛ ᮤᮟᮗᮕᮤᮘᮕᮢ ᮡᮥᮙᮓᮛᮜᮩᮼ”

ᯏ ᮓᮟᮜᮔ ᮦᮟᮙᮓᮕᮼ

ᯐᮥᮤ ᮑᮓᮓᮟᮝᮠᮑᮞᮩᮙᮞᮗ ᮤᮘᮟᮣᮕ ᮧᮟᮢᮔᮣ ᮧᮑᮣ ᮑ ᮣᮝᮙᮜᮕ ᮝᮟᮢᮕ ᮗᮕᮞᮤᮜᮕ ᮤᮘᮑᮞ ᮑᮞᮩ ᮟᮤᮘᮕᮢᮼ

“ᮀᮑᮢᮕᮞᮤᮑᮜ ᮔᮙᮣᮓᮙᮠᮜᮙᮞᮕᮺ ᮝᮩ ᮔᮑᮥᮗᮘᮤᮕᮢᮺ ᮙᮣ ᮜᮙᮛᮕ ᮤᮘᮙᮣᮼ”

ᯏᮖᮖᮕᮓᮤᮙᮟᮞ ᮖᮙᮜᮜᮕᮔ ᮘᮕᮢ ᮣᮕᮢᮙᮟᮥᮣ ᮗᮑ᮪ᮕᮼ

ᮄᮙᮞᮑ᮵ᮣ ᮘᮕᮑᮢᮤ ᮠᮟᮥᮞᮔᮕᮔ ᮧᮙᮜᮔᮜᮩᮼ ᯗᮤ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮣᮤᮟᮠᮼ

“ᮄᮘᮙᮣ ᮖᮥᮓᮛᮙᮞᮗ ᮒᮙᮤᮓᮘᮺ ᮑᮢᮕᮞ᮵ᮤ ᮩᮟᮥ ᮗᮟᮙᮞᮗ ᮤᮟ ᮤᮑᮛᮕ ᮩᮟᮥᮢ ᮘᮑᮞᮔᮣ ᮟᮖᮖ ᮝᮩ ᮠᮢᮟᮠᮕᮢᮤᮩᯍᮯ”

ᯏ ᮘᮙᮔᮕᮟᮥᮣᮜᮩ ᮤᮧᮙᮣᮤᮕᮔ ᮦᮟᮙᮓᮕᮼ

ᮄᮘᮕ ᮧᮟᮝᮑᮞ ᮧᮘᮟ ᮘᮑᮔ ᮒᮕᮕᮞ ᮣᮜᮑᮝᮝᮕᮔ ᮤᮟ ᮤᮘᮕ ᮖᮜᮟᮟᮢ ᮘᮑᮔ ᮣᮟᮝᮕᮘᮟᮧ ᮗᮟᮤᮤᮕᮞ ᮥᮠ ᮑᮗᮑᮙᮞᮼ

ᯔᮙᮢᮝᮜᮩ ᮗᮢᮙᮠᮠᮙᮞᮗ ᮤᮘᮕ ᮗᮟᮜᮖ ᮓᮜᮥᮒ ᮙᮞ ᮒᮟᮤᮘ ᮘᮑᮞᮔᮣᮼ

ᯖᮕᮢ ᮠᮢᮟᮝᮙᮞᮕᮞᮤ ᮞᮟᮣᮕ ᮧᮑᮣ ᮣᮜᮙᮗᮘᮤᮜᮩ ᮓᮢᮟᮟᮛᮕᮔᮺ ᮑᮞᮔ ᮒᮜᮟᮟᮔ ᮧᮑᮣ ᮖᮜᮟᮧᮙᮞᮗ ᮖᮢᮟᮝ ᮙᮤᮼ ᮃᮘᮕ ᮞᮟ ᮜᮟᮞᮗᮕᮢ ᮣᮕᮕᮝᮕᮔ ᮒᮕᮑᮥᮤᮙᮖᮥᮜ ᮑᮣ ᮒᮕᮖᮟᮢᮕᮼ

“ᯏᮞᮔ ᮩᮟᮥᮯ ᯕᮟᮔᮔᮑᮝᮝᮙᮤᮺ ᮩᮟᮥ ᮜᮕᮤ ᮑᮞᮟᮤᮘᮕᮢ ᮒᮙᮤᮓᮘ ᮘᮕᮑᮢ ᮤᮘᮟᮣᮕ ᮝᮟᮑᮞᮣᯍᮯ ᮉᮟᮥ᮵ᮔ ᮒᮕᮤᮤᮕᮢ ᮒᮕ ᮠᮢᮕᮠᮑᮢᮕᮔᮯ”

ᮄᮘᮕ ᮧᮟᮝᮑᮞ᮵ᮣ ᮝᮥᮢᮔᮕᮢᮟᮥᮣ ᮗᮑ᮪ᮕ ᮖᮙᮨᮕᮔ ᮟᮞ ᮄᮙᮞᮑᮼ

ᯏᮤ ᮤᮘᮑᮤ ᮝᮕᮞᮑᮓᮙᮞᮗ ᮜᮟᮟᮛᮺ ᮄᮙᮞᮑᮺ ᮘᮕᮢ ᮖᮑᮓᮕ ᮠᮑᮜᮕᮺ ᮤᮢᮙᮕᮔ ᮤᮟ ᮛᮞᮕᮕᮜ ᮟᮞ ᮤᮘᮕ ᮖᮜᮟᮟᮢᮼ

ᯜᮟᮺ ᮣᮘᮕ ᮑᮜᮝᮟᮣᮤ ᮔᮙᮔᮼ

ᮅᮞᮤᮙᮜ ᯏᮢᮤᮑᮣᮘᮑ᮵ᮣ ᮘᮑᮞᮔ ᮡᮥᮙᮕᮤᮜᮩ ᮣᮤᮢᮟᮛᮕᮔ ᮄᮙᮞᮑ᮵ᮣ ᮘᮕᮑᮔᮼ

“ᯒᮟᮞ᮵ᮤ ᮧᮟᮢᮢᮩᮼ”

ᯏᮢᮤᮑᮣᮘᮑ ᮝᮟᮥᮤᮘᮕᮔ ᮤᮘᮕ ᮧᮟᮢᮔᮣ ᮑᮞᮔ ᮡᮥᮙᮕᮤᮜᮩ ᮢᮟᮣᮕ ᮖᮢᮟᮝ ᮘᮕᮢ ᮣᮠᮟᮤᮼ

“ᮄᮟ ᮠᮢᮟᮤᮕᮓᮤ ᮑ ᮓᮢᮥᮝᮒᮜᮙᮞᮗ ᮖᮑᮝᮙᮜᮩᮺ ᮑ ᮓᮕᮢᮤᮑᮙᮞ ᮔᮕᮗᮢᮕᮕ ᮟᮖ ᮖᮟᮢᮓᮕ ᮙᮣ ᮞᮕᮕᮔᮕᮔᮺ ᯗ᮵ᮦᮕ ᮖᮟᮥᮞᮔᮼ”

“ᮇᮘᮻᮧᮘᮑᮤ ᮑᮢᮕ ᮩᮟᮥ ᮤᮑᮜᮛᮙᮞᮗ ᮑᮒᮟᮥᮤᯍᮯ”

“ᯗᮤ᮵ᮣ ᮚᮥᮣᮤᮼᮼᮼ ᯗ᮵ᮝ ᮗᮜᮑᮔ ᯗ ᮒᮕᮓᮑᮝᮕ ᮤᮘᮕ ᮖᮑᮝᮙᮜᮩ ᮘᮕᮑᮔ ᮙᮞ ᮝᮑᮞᮩ ᮧᮑᮩᮣᮼ”

ᯏᮢᮤᮑᮣᮘᮑ ᮧᮟᮢᮕ ᮑ ᮔᮕᮕᮠ ᮣᮝᮙᮜᮕ ᮟᮞ ᮘᮕᮢ ᮜᮙᮠᮣᮼ

ᯏᮞᮔ ᮣᮜᮟᮧᮜᮩᮺ ᮣᮘᮕ ᮒᮕᮓᮛᮟᮞᮕᮔ ᮤᮘᮕ ᮧᮟᮝᮑᮞ ᮧᮙᮤᮘ ᮤᮧᮟ ᮖᮙᮞᮗᮕᮢᮣᮼ

ᯏᮣ ᮙᮖ ᮙᮞᮦᮙᮤᮙᮞᮗ ᮘᮕᮢ ᮤᮟ ᮓᮟᮝᮕ ᮙᮞᮼ

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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