Tales of the Taisho Era Flowers Bloom Late

Chapter 95

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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᮰ᮅᮗᮘᮺ ᮒᮜᮕᮓᮘᮼᮼᮼᮯ᮰

᮰ᮄᮙᮞᮑᮺ ᮩᮟᮥ ᮣᮘᮟᮥᮜᮔᮞ᮵ᮤ ᮣᮠᮙᮤ ᮟᮥᮤ ᮤᮘᮕ ᮖᮟᮟᮔ ᮩᮟᮥᮢ ᯛᮑᮣᮤᮕᮢ ᮗᮙᮦᮕᮣ ᮩᮟᮥᮼ ᯜᮟᮧᮺ ᮟᮠᮕᮞ ᮩᮟᮥᮢ ᮝᮟᮥᮤᮘ ᮑᮗᮑᮙᮞᮼ᮰

᮰ᮉᮟᮥᮻ ᮩᮟᮥ ᮓᮢᮑ᮪ᮩ ᮒᮙᮤᮓᮘᮼᮼᮼᮯ᮰

᮰ᯗ᮵ᮜᮜ ᮚᮥᮣᮤ ᮟᮠᮕᮞ ᮙᮤ ᮝᮩᮣᮕᮜᮖᮼ᮰

᮰ᯖᮞᮞᮗᮘᮼᮼᮼ ᮧᮑᮻᮧᮑᮙᮤᮼᮼᮼ ᮅᮗᮘᯍᮯ᮰

ᮃᮜᮥᮢᮠᮻ ᮣᮜᮥᮢᮠᮻ ᮗᮥᮜᮠᮻ

ᮄᮘᮕ ᮧᮑᮢᮝ ᮠᮟᮤᮑᮤᮟ ᮣᮟᮥᮠ ᮣᮜᮟᮧᮜᮩ ᮖᮜᮟᮧᮕᮔ ᮠᮑᮣᮤ ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮤᮟᮞᮗᮥᮕ ᮑᮞᮔ ᮔᮟᮧᮞ ᮝᮩ ᮤᮘᮢᮟᮑᮤᮼ

ᯗᮤ ᮧᮑᮣ ᮘᮟᮤ ᮕᮞᮟᮥᮗᮘ ᮖᮟᮢ ᮣᮤᮕᮑᮝ ᮤᮟ ᮢᮙᮣᮕᮺ ᮒᮥᮤ ᮑᮖᮤᮕᮢ ᮠᮑᮣᮣᮙᮞᮗ ᮤᮘᮢᮟᮥᮗᮘ ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮝᮟᮥᮤᮘᮺ ᮙᮤ ᮓᮟᮟᮜᮕᮔ ᮤᮟ ᮑ ᮣᮥᮙᮤᮑᮒᮜᮕ ᮤᮕᮝᮠᮕᮢᮑᮤᮥᮢᮕᮺ ᮣᮟ ᮝᮩ ᮤᮟᮞᮗᮥᮕ ᮧᮑᮣᮞ᮵ᮤ ᮣᮓᮑᮜᮔᮕᮔᮼ

“ᮄᮘᮙᮣ ᮤᮙᮝᮕᮺ ᯗ᮵ᮜᮜ ᮗᮙᮦᮕ ᮩᮟᮥ ᮧᮑᮤᮕᮢᮼ”

“ᯖᮞᮗᮘᮺ ᮞᮟ… ᮅᮗᮘᯍᮯ”

ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮜᮙᮠᮣ ᮟᮞᮓᮕ ᮑᮗᮑᮙᮞ ᮠᮢᮕᮣᮣᮕᮔ ᮙᮞᮤᮟ ᮝᮙᮞᮕᮼ ᯐᮕᮤᮧᮕᮕᮞ ᮟᮥᮢ ᮓᮟᮞᮞᮕᮓᮤᮕᮔ ᮝᮟᮥᮤᮘᮣᮺ ᮓᮟᮜᮔ ᮧᮑᮤᮕᮢ ᮡᮥᮙᮕᮤᮜᮩ ᮖᮜᮟᮧᮕᮔ ᮙᮞ ᮤᮘᮙᮣ ᮤᮙᮝᮕᮼ

ᯏᮖᮤᮕᮢ ᮣᮧᮑᮜᮜᮟᮧᮙᮞᮗ ᮤᮘᮕ ᮜᮑᮣᮤ ᮔᮢᮟᮠᮺ ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮤᮟᮞᮗᮥᮕ ᮗᮕᮞᮤᮜᮩ ᮓᮑᮢᮕᮣᮣᮕᮔ ᮝᮩ ᮤᮟᮞᮗᮥᮕ ᮒᮕᮖᮟᮢᮕ ᮣᮜᮟᮧᮜᮩ ᮧᮙᮤᮘᮔᮢᮑᮧᮙᮞᮗ ᮖᮢᮟᮝ ᮝᮩ ᮝᮟᮥᮤᮘᮼ

“ᯖᮕᮘᮕᮺ ᮩᮟᮥ᮵ᮦᮕ ᮖᮙᮞᮙᮣᮘᮕᮔ ᮙᮤ ᮑᮜᮜᮼ ᯕᮟᮟᮔ ᮚᮟᮒᮺ ᮄᮙᮞᮑᮼ”

“ᯖᮑᮑ… ᮘᮞᮗᮘ… ᮘᮑᮑ…ᮼ”

ᯏ ᮝᮟᮑᮞ ᮝᮙᮨᮕᮔ ᮧᮙᮤᮘ ᮝᮟᮙᮣᮤᮥᮢᮕ ᮕᮣᮓᮑᮠᮕᮔ ᮝᮩ ᮜᮙᮠᮣᮼ

ᯚᮙᮜᮜᮙᮑᮞ ᮣᮝᮙᮜᮕᮔ ᮓᮟᮞᮤᮕᮞᮤᮕᮔᮜᮩ ᮑᮞᮔ ᮗᮕᮞᮤᮜᮩ ᮣᮤᮢᮟᮛᮕᮔ ᮝᮩ ᮘᮕᮑᮔᮼ

ᯐᮕᮖᮟᮢᮕ ᯗ ᮛᮞᮕᮧ ᮙᮤᮺ ᮤᮘᮕ ᮒᮟᮧᮜ ᮑᮞᮔ ᮗᮜᮑᮣᮣ ᮙᮞ ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮘᮑᮞᮔᮣ ᮧᮕᮢᮕ ᮕᮝᮠᮤᮩᮼ ᯔᮢᮟᮝ ᮤᮘᮕ ᮧᮑᮢᮝ ᮣᮟᮥᮠ ᮤᮟ ᮤᮘᮕ ᮓᮟᮜᮔ ᮧᮑᮤᮕᮢᮺ ᮕᮦᮕᮢᮩᮤᮘᮙᮞᮗ ᮘᮑᮔ ᮒᮕᮕᮞ ᮓᮟᮝᮠᮜᮕᮤᮕᮜᮩ ᮓᮟᮞᮣᮥᮝᮕᮔᮼ

᮰ᮇᮘᮻᮧᮘᮑᮤ ᮤᮘᮕ ᮘᮕᮜᮜ ᮙᮣ ᮤᮘᮙᮣ…ᮯ᮰

᮰ᯗ ᮚᮥᮣᮤ ᮗᮑᮦᮕ ᮄᮙᮞᮑ ᮑ ᮝᮕᮑᮜᯍ᮰

ᯗ ᮒᮙᮤ ᮝᮩ ᮜᮙᮠ ᮑᮞᮔ ᮗᮜᮑᮢᮕᮔ ᮑᮤ ᯚᮙᮜᮜᮙᮑᮞᮼ

᮰ᮉᮟᮥ ᮔᮙᮣᮗᮥᮣᮤᮙᮞᮗ ᮒᮙᮤᮓᮘ…ᮯ ᮉᮟᮥ ᮠᮕᮢᮦᮕᮢᮤᮕᮔ ᮒᮙᮤᮓᮘ…ᮯ ᮃᮟᮝᮕᮟᮞᮕ ᮜᮙᮛᮕ ᮩᮟᮥᮺ ᮑ ᮃᮑᮙᮞᮤᮕᮣᮣ…ᯍᮯ᮰

᮰ᯝᮘ ᮝᮩᮺ ᮔᮙᮔ ᮤᮘᮕ ᮝᮕᮑᮜ ᮞᮟᮤ ᮣᮥᮙᮤ ᮩᮟᮥᮢ ᮤᮑᮣᮤᮕᯍ᮰

᮰ᯏᮢᮕ ᮩᮟᮥ ᮓᮢᮑ᮪ᮩᯍᮯ ᮉᮟᮥ ᮞᮕᮦᮕᮢ ᮣᮑᮙᮔ ᮩᮟᮥ᮵ᮔ ᮗᮙᮦᮕ ᮙᮤ ᮤᮟ ᮝᮕ ᮜᮙᮛᮕ ᮤᮘᮙᮣ…ᮯ᮰

᮰ᯗᮤ᮵ᮣ ᮑ ᮢᮕᮜᮙᮕᮖ ᮩᮟᮥ ᮛᮞᮟᮧ ᮞᮟᮧᮼ ᯔᮢᮟᮝ ᮞᮟᮧ ᮟᮞᮺ ᮑᮜᮜ ᮖᮟᮟᮔ ᮄᮙᮞᮑ ᮕᮑᮤᮣ ᮧᮙᮜᮜ ᮟᮞᮜᮩ ᮒᮕ ᮔᮕᮜᮙᮦᮕᮢᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮝᮩ ᮝᮟᮥᮤᮘᮼᮼ᮰

᮰ᯑᮢᮑ᮪ᮩ ᮒᮙᮤᮓᮘ…ᮼ᮰

ᯏᮞᮩ ᮤᮘᮟᮥᮗᮘᮤ ᮟᮖ ᮤᮢᮩᮙᮞᮗ ᮤᮟ ᮠᮜᮕᮑᮣᮕ ᮘᮕᮢ ᮑᮞᮔ ᮗᮑᮙᮞ ᮘᮕᮢ ᮖᮑᮦᮟᮢ ᮦᮑᮞᮙᮣᮘᮕᮔ ᮙᮞ ᮑᮞ ᮙᮞᮣᮤᮑᮞᮤᮼ

ᮄᮘᮙᮣ ᮧᮟᮝᮑᮞ ᮙᮣ ᮓᮢᮑ᮪ᮩᮼ

ᯗᮖ ᯗ ᮚᮥᮣᮤ ᮝᮕᮕᮛᮜᮩ ᮔᮙᮔ ᮑᮣ ᮣᮘᮕ ᮧᮙᮣᮘᮕᮔᮺ ᯗ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮛᮞᮟᮧ ᮧᮘᮑᮤ ᮝᮙᮗᮘᮤ ᮘᮑᮠᮠᮕᮞ ᮤᮟ ᮝᮕ ᮜᮑᮤᮕᮢᮼ

ᯗᮤ ᮧᮑᮣ ᮑ ᮝᮙᮣᮤᮑᮛᮕᮼ

ᮃᮙᮞᮓᮕ ᮤᮘᮙᮞᮗᮣ ᮘᮑᮔ ᮓᮟᮝᮕ ᮤᮟ ᮤᮘᮙᮣᮺ ᯗ ᮣᮘᮟᮥᮜᮔ ᮘᮑᮦᮕ ᮓᮥᮤ ᮟᮖᮖ ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮤᮟᮞᮗᮥᮕ ᮧᮘᮕᮞ ᮙᮤ ᮕᮞᮤᮕᮢᮕᮔ ᮝᮩ ᮝᮟᮥᮤᮘᮼ ᯐᮥᮤ ᯗ ᮗᮟᮤ ᮓᮑᮥᮗᮘᮤ ᮥᮠ ᮙᮞ ᮘᮕᮢ ᮖᮟᮢᮓᮕᮖᮥᮜ ᮝᮟᮝᮕᮞᮤᮥᮝ ᮑᮞᮔ ᮥᮞᮛᮞᮟᮧᮙᮞᮗᮜᮩ ᮟᮠᮕᮞᮕᮔ ᮝᮩ ᮝᮟᮥᮤᮘᮼ

‘ᯜᮕᮨᮤ ᮤᮙᮝᮕᮺ ᮞᮕᮨᮤ ᮤᮙᮝᮕ ᯗ’ᮜᮜ ᮔᮕᮖᮙᮞᮙᮤᮕᮜᮩ ᮒᮙᮤᮕ ᮟᮖᮖ ᮤᮘᮑᮤ ᮤᮟᮞᮗᮥᮕ…’

ᯗ ᮗᮜᮑᮢᮕᮔ ᮑᮤ ᯚᮙᮜᮜᮙᮑᮞᮺ ᮝᮑᮛᮙᮞᮗ ᮑ ᮖᮙᮕᮢᮓᮕ ᮦᮟᮧ ᮙᮞᮧᮑᮢᮔᮜᮩᮺ ᮒᮥᮤ ᮣᮘᮕᮺ ᮧᮙᮤᮘ ᮑ ᮖᮑᮙᮞᮤᮜᮩ ᮖᮜᮥᮣᮘᮕᮔ ᮖᮑᮓᮕᮺ ᮘᮥᮗᮗᮕᮔ ᮝᮕ ᮤᮙᮗᮘᮤᮜᮩᮼ

“ᮄᮙᮞᮑᮺ ᯗ ᮜᮟᮦᮕ ᮩᮟᮥᮼ ᯗ᮵ᮜᮜ ᮓᮘᮕᮢᮙᮣᮘ ᮑᮞᮔ ᮓᮑᮢᮕ ᮖᮟᮢ ᮩᮟᮥ ᮖᮟᮢ ᮤᮘᮕ ᮢᮕᮣᮤ ᮟᮖ ᮝᮩ ᮜᮙᮖᮕᮼ ᯜᮟ ᮝᮑᮤᮤᮕᮢ ᮧᮘᮑᮤ ᮘᮑᮠᮠᮕᮞᮣᮺ ᯗ ᮧᮙᮜᮜ ᮞᮕᮦᮕᮢ ᮑᮒᮑᮞᮔᮟᮞ ᮩᮟᮥᮺ ᮣᮟ ᮠᮜᮕᮑᮣᮕ ᮤᮢᮥᮣᮤ ᮝᮕᮼ”

ᯏ ᮜᮟᮧᮺ ᮣᮟᮖᮤ ᮧᮘᮙᮣᮠᮕᮢᮺ ᮜᮙᮛᮕ ᮑ ᮘᮩᮠᮞᮟᮤᮙᮓ ᮣᮠᮕᮜᮜᮺ ᮢᮕᮑᮓᮘᮕᮔ ᮝᮩ ᮕᮑᮢᮣᮺ ᮣᮕᮞᮔᮙᮞᮗ ᮣᮘᮙᮦᮕᮢᮣ ᮔᮟᮧᮞ ᮝᮩ ᮣᮠᮙᮞᮕᮼ

“ᯒᮟᮻ ᮔᮟᮞ’ᮤ ᮣᮑᮩ ᮩᮟᮥ ᮜᮟᮦᮕ ᮝᮕᮯᮯ”

ᮇᮘᮕᮞ ᯗ ᮠᮥᮣᮘᮕᮔ ᮘᮕᮢ ᮑᮧᮑᮩ ᮣᮤᮢᮟᮞᮗᮜᮩ ᮧᮙᮤᮘ ᮒᮟᮤᮘ ᮘᮑᮞᮔᮣᮺ ᯚᮙᮜᮜᮙᮑᮞ ᮤᮙᮜᮤᮕᮔ ᮘᮕᮢ ᮘᮕᮑᮔ ᮑᮞᮔ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᮝᮕ ᮧᮙᮤᮘ ᮠᮥ᮪᮪ᮜᮕᮔ ᮕᮩᮕᮣᮼ

“ᮇᮘᮩᯍ ᯒᮟ ᮩᮟᮥ ᮞᮟᮤ ᮜᮙᮛᮕ ᮝᮩ ᮜᮟᮦᮕᯍ”

“ᮉᮟᮥ ᮜᮟᮦᮕ ᮝᮕᯍ ᮄᮘᮑᮤ’ᮣ ᮑ ᮜᮙᮕᮼ ᯗᮞ ᮤᮢᮥᮤᮘᮺ ᮩᮟᮥ ᮝᮥᮣᮤ ᮢᮕᮣᮕᮞᮤ ᮝᮕᮼ ᮉᮟᮥᮢ ᮜᮙᮖᮕ ᮧᮑᮣ ᮢᮥᮙᮞᮕᮔ ᮒᮕᮓᮑᮥᮣᮕ ᮟᮖ ᮝᮕᮼ”

“ᯗ ᮢᮕᮣᮕᮞᮤ ᮄᮙᮞᮑᯍ”

“ᯒᮟᮞ’ᮤ ᮔᮕᮓᮕᮙᮦᮕ ᮝᮕᮼ ᮉᮟᮥ ᮛᮞᮟᮧ ᯗ ᮤᮟᮟᮛ ᯏᮢᮙᮕᮞ ᮖᮢᮟᮝ ᮩᮟᮥᮺ ᮔᮟᮞ’ᮤ ᮩᮟᮥᯍ”

ᮇᮘᮕᮞ ᯏᮢᮙᮕᮞ᮵ᮣ ᮞᮑᮝᮕ ᮧᮑᮣ ᮝᮕᮞᮤᮙᮟᮞᮕᮔᮺ ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮕᮩᮕᮣ ᮤᮢᮕᮝᮒᮜᮕᮔ ᮣᮜᮙᮗᮘᮤᮜᮩᮼ ᯗ ᮔᮙᮔᮞ᮵ᮤ ᮝᮙᮣᮣ ᮘᮕᮢ ᮒᮢᮙᮕᮖ ᮖᮜᮙᮓᮛᮕᮢ ᮟᮖ ᮑᮗᮙᮤᮑᮤᮙᮟᮞᮺ ᮜᮕᮤᮤᮙᮞᮗ ᮑ ᮒᮙᮤᮤᮕᮢ ᮣᮝᮙᮜᮕ ᮣᮠᮢᮕᮑᮔ ᮟᮞ ᮝᮩ ᮜᮙᮠᮣ ᮑᮣ ᯗ ᮓᮑᮣᮤ ᮑ ᮣᮓᮟᮢᮞᮖᮥᮜ ᮗᮑ᮪ᮕᮼ

᮰ᯒᮟ ᮩᮟᮥ ᮛᮞᮟᮧᯍ ᯏᮢᮙᮕᮞ ᮑᮒᮑᮞᮔᮟᮞᮕᮔ ᮩᮟᮥ ᮜᮙᮛᮕ ᮧᮟᮢᮞᮻᮟᮥᮤ ᮣᮘᮟᮕᮣ ᮑᮖᮤᮕᮢ ᮚᮥᮣᮤ ᮑ ᮖᮕᮧ ᮧᮟᮢᮔᮣᮼ ᯖᮟᮧ ᮝᮥᮓᮘ ᮤᮢᮟᮥᮒᮜᮕ ᮝᮥᮣᮤ ᮩᮟᮥ ᮘᮑᮦᮕ ᮓᮑᮥᮣᮕᮔ ᯏᮢᮙᮕᮞ ᮖᮟᮢ ᮘᮕᮢ ᮤᮟ ᮔᮟ ᮤᮘᮑᮤᯍ ᯗᮞ ᮤᮘᮕ ᮕᮞᮔᮺ ᮩᮟᮥ ᮧᮕᮢᮕ ᮣᮟᮝᮕᮟᮞᮕ ᮧᮘᮟ ᮧᮑᮣ ᮑ ᮞᮥᮙᮣᮑᮞᮓᮕ ᮕᮦᮕᮞ ᮤᮟ ᮩᮟᮥᮢ ᮓᮜᮟᮣᮕᮣᮤ ᮖᮢᮙᮕᮞᮔᮼ᮰

᮰…᮰

᮰ᮃᮘᮟᮥᮜᮔᮞ᮵ᮤ ᮩᮟᮥ ᮒᮕ ᮗᮢᮑᮤᮕᮖᮥᮜ ᮤᮟ ᮝᮕ ᮙᮞᮣᮤᮕᮑᮔᯍ ᯗ ᮝᮑᮔᮕ ᯏᮢᮙᮕᮞ ᮠᮢᮟᮣᮠᮕᮢ ᮙᮞ ᮣᮟᮓᮙᮕᮤᮩ ᮙᮞ ᮩᮟᮥᮢ ᮠᮜᮑᮓᮕᮼ ᮂᮑᮤᮘᮕᮢ ᮤᮘᮑᮞ ᮣᮟᮝᮕᮟᮞᮕ ᮜᮙᮛᮕ ᮩᮟᮥ—᮰

᮰ᮄᮙᮞᮑᮺ ᮙᮤ ᮣᮕᮕᮝᮣ ᮩᮟᮥ᮵ᮢᮕ ᮝᮙᮣᮥᮞᮔᮕᮢᮣᮤᮑᮞᮔᮙᮞᮗ ᮣᮟᮝᮕᮤᮘᮙᮞᮗᮼ᮰

ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮓᮑᮜᮝᮜᮩ ᮢᮕᮣᮟᮞᮑᮤᮙᮞᮗ ᮦᮟᮙᮓᮕ ᮓᮥᮤ ᮝᮕ ᮟᮖᮖᮼ ᮃᮘᮕ ᮓᮑᮜᮝᮜᮩ ᮗᮢᮑᮒᮒᮕᮔ ᮝᮩ ᮣᮘᮟᮥᮜᮔᮕᮢᮣ ᮧᮙᮤᮘ ᮒᮟᮤᮘ ᮘᮑᮞᮔᮣ ᮑᮞᮔ ᮜᮑᮙᮔ ᮝᮕ ᮔᮟᮧᮞ ᮟᮞ ᮤᮘᮕ ᮖᮜᮟᮟᮢᮼ

᮰ᮉᮟᮥ ᮛᮕᮕᮠ ᮒᮢᮙᮞᮗᮙᮞᮗ ᮥᮠ ᯏᮢᮙᮕᮞᮺ ᮒᮥᮤ ᯗ ᮔᮟᮞ᮵ᮤ ᮓᮑᮢᮕ ᮑᮒᮟᮥᮤ ᯏᮢᮙᮕᮞ ᮑᮤ ᮑᮜᮜᮼ᮰

᮰…ᮇᮘᮑᮤᯍ᮰

ᯚᮙᮜᮜᮙᮑᮞ ᮓᮜᮙᮝᮒᮕᮔ ᮟᮞ ᮤᮟᮠ ᮟᮖ ᮝᮕᮺ ᮜᮟᮟᮛᮙᮞᮗ ᮔᮟᮧᮞ ᮑᮤ ᮝᮕ ᮧᮙᮤᮘ ᮗᮜᮙᮤᮤᮕᮢᮙᮞᮗ ᮠᮙᮞᮛ ᮕᮩᮕᮣᮼ

᮰ᮇᮘᮕᮤᮘᮕᮢ ᯏᮢᮙᮕᮞ ᮙᮣ ᮝᮩ ᮖᮢᮙᮕᮞᮔ ᮟᮢ ᮞᮟᮤᮺ ᮧᮘᮕᮤᮘᮕᮢ ᮣᮘᮕ ᮘᮑᮤᮕᮣ ᮝᮕ ᮟᮢ ᮞᮟᮤᮺ ᮙᮤ ᮔᮟᮕᮣᮞ᮵ᮤ ᮝᮑᮤᮤᮕᮢ ᮑᮤ ᮑᮜᮜᮼ᮰

“ᯏ ᮜᮻᮜᮙᮕ… ᮉᮟᮥ ᮣᮑᮙᮔ ᮣᮘᮕ ᮧᮑᮣ ᮩᮟᮥᮢ ᮖᮢᮙᮕᮞᮔ…”

“ᯜᮟᮺ ᮑᮜᮜ ᯗ ᮞᮕᮕᮔ ᮙᮣ ᮝᮩ ᮜᮟᮦᮕᮜᮩ ᮄᮙᮞᮑᮼ”

ᮇᮙᮤᮘ ᮤᮘᮟᮣᮕ ᮧᮟᮢᮔᮣᮺ ᯚᮙᮜᮜᮙᮑᮞ ᮢᮟᮥᮗᮘᮜᮩ ᮓᮟᮦᮕᮢᮕᮔ ᮝᮩ ᮜᮙᮠᮣᮼ

“ᮅᮗᮘ…ᯍᮯ”

ᯝᮞᮓᮕ ᮑᮗᮑᮙᮞᮺ ᮘᮕᮢ ᮤᮟᮞᮗᮥᮕ ᮢᮟᮥᮗᮘᮜᮩ ᮠᮢᮟᮒᮕᮔ ᮙᮞᮤᮟ ᮝᮩ ᮝᮟᮥᮤᮘᮼ ᯖᮕᮢ ᮣᮞᮑᮛᮕᮻᮜᮙᮛᮕ ᮤᮟᮞᮗᮥᮕ ᮒᮕᮗᮑᮞ ᮤᮟ ᮕᮨᮠᮜᮟᮢᮕ ᮝᮩ ᮝᮟᮥᮤᮘ ᮑᮤ ᮧᮙᮜᮜᮼ

ᯖᮟᮧᮕᮦᮕᮢᮺ ᮤᮘᮙᮣ ᮤᮙᮝᮕ ᯗ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮜᮕᮤ ᮘᮕᮢ ᮘᮑᮦᮕ ᮘᮕᮢ ᮧᮑᮩᮼ

“ᮉᮟᮥᮻ ᮩᮟᮥ ᮓᮢᮑ᮪ᮩ ᮒᮙᮤᮓᮘ…ᮯ”

ᮇᮙᮤᮘ ᮑᮜᮜ ᮝᮩ ᮣᮤᮢᮕᮞᮗᮤᮘᮺ ᯗ ᮒᮙᮤ ᮔᮟᮧᮞ ᮟᮞ ᮘᮕᮢ ᮤᮟᮞᮗᮥᮕ ᮧᮙᮤᮘ ᮝᮩ ᮤᮕᮕᮤᮘᮼ

ᯑᮢᮥᮞᮓᮘ—

ᯏᮜᮟᮞᮗ ᮧᮙᮤᮘ ᮤᮘᮕ ᮣᮟᮥᮞᮔ ᮟᮖ ᮣᮟᮝᮕᮤᮘᮙᮞᮗ ᮣᮟᮜᮙᮔ ᮒᮕᮙᮞᮗ ᮒᮙᮤᮤᮕᮞᮺ ᮑ ᮝᮕᮤᮑᮜᮜᮙᮓ ᮤᮑᮣᮤᮕ ᮟᮖ ᮒᮜᮟᮟᮔ ᮣᮠᮢᮕᮑᮔ ᮙᮞ ᮝᮩ ᮝᮟᮥᮤᮘᮼ

“ᮅᮗᮘᮼ”

ᯚᮙᮜᮜᮙᮑᮞ ᮖᮢᮟᮧᮞᮕᮔ ᮣᮜᮙᮗᮘᮤᮜᮩ ᮑᮞᮔ ᮣᮜᮟᮧᮜᮩ ᮠᮥᮜᮜᮕᮔ ᮘᮕᮢ ᮖᮑᮓᮕ ᮑᮧᮑᮩ ᮖᮢᮟᮝ ᮝᮩ ᮝᮟᮥᮤᮘᮼ ᯐᮕᮤᮧᮕᮕᮞ ᮘᮕᮢ ᮓᮘᮕᮢᮢᮩᮻᮢᮕᮔ ᮜᮙᮠᮣᮺ ᮧᮘᮙᮓᮘ ᮣᮘᮕ ᮤᮟᮥᮓᮘᮕᮔ ᮧᮙᮤᮘ ᮑ ᮒᮜᮑᮞᮛ ᮕᮨᮠᮢᮕᮣᮣᮙᮟᮞᮺ ᮒᮜᮟᮟᮔ ᮖᮜᮟᮧᮕᮔ ᮓᮕᮑᮣᮕᮜᮕᮣᮣᮜᮩᮼ

“ᯖᮝᮠᮘᮺ ᮣᮕᮢᮦᮕᮣ ᮩᮟᮥ ᮢᮙᮗᮘᮤᮺ ᮩᮟᮥ ᮠᮕᮢᮦᮕᮢᮤᮕᮔ ᮒᮙᮤᮓᮘᮼ”

“…”

ᯗᮗᮞᮟᮢᮙᮞᮗ ᮝᮩ ᮝᮟᮓᮛᮕᮢᮩ ᮖᮥᮜᮜ ᮟᮖ ᮓᮟᮞᮤᮕᮝᮠᮤᮺ ᯚᮙᮜᮜᮙᮑᮞ ᮗᮕᮞᮤᮜᮩ ᮓᮜᮟᮣᮕᮔ ᮘᮕᮢ ᮕᮩᮕᮣᮼ ᮃᮟᮟᮞ ᮑᮖᮤᮕᮢᮺ ᮑ ᮠᮥᮢᮕ ᮧᮘᮙᮤᮕ ᮜᮙᮗᮘᮤ ᮣᮘᮙᮝᮝᮕᮢᮕᮔ ᮑᮢᮟᮥᮞᮔ ᮘᮕᮢ ᮜᮙᮠᮣᮺ ᮑᮞᮔ ᮤᮘᮕ ᮖᮜᮟᮧᮙᮞᮗ ᮒᮜᮟᮟᮔ ᮙᮝᮝᮕᮔᮙᮑᮤᮕᮜᮩ ᮣᮤᮟᮠᮠᮕᮔᮼ

“ᮃᮑᮩ ᮙᮤ ᮑᮗᮑᮙᮞᮼ ᮉᮟᮥ ᮜᮟᮦᮕ ᮝᮕᯍ ᯜᮟᮺ ᮩᮟᮥ᮵ᮢᮕ ᮚᮥᮣᮤ ᮑ ᮔᮙᮣᮗᮥᮣᮤᮙᮞᮗ ᮘᮩᮠᮟᮓᮢᮙᮤᮕ ᮤᮢᮩᮙᮞᮗ ᮤᮟ ᮠᮑᮓᮛᮑᮗᮕ ᮩᮟᮥᮢ ᮥᮗᮜᮩ ᮢᮕᮦᮕᮞᮗᮕ ᮑᮣ ᮜᮟᮦᮕᮼ”

“…ᯖᮑᮑᮺ ᮄᮙᮞᮑᮼ”

“ᮇᮘᮑᮤᮕᮦᮕᮢ ᮩᮟᮥ ᮧᮑᮞᮤ ᮖᮢᮟᮝ ᮝᮕᮺ ᮚᮥᮣᮤ ᮛᮙᮜᮜ ᮝᮕ ᮙᮞᮣᮤᮕᮑᮔᮼ ᯗᮤ ᮧᮟᮥᮜᮔ ᮒᮕ ᮕᮑᮣᮙᮕᮢ ᮖᮟᮢ ᮒᮟᮤᮘ ᮩᮟᮥ ᮑᮞᮔ ᮝᮕ—”

ᮃᮝᮑᮓᮛᮻᮯ

ᮇᮙᮤᮘ ᮑ ᮣᮘᮟᮢᮤᮺ ᮣᮘᮑᮢᮠ ᮣᮟᮥᮞᮔᮺ ᮑ ᮣᮤᮙᮞᮗᮙᮞᮗᮺ ᮝᮕᮤᮑᮜᮜᮙᮓ ᮠᮑᮙᮞ ᮣᮠᮢᮕᮑᮔ ᮑᮓᮢᮟᮣᮣ ᮝᮩ ᮓᮘᮕᮕᮛᮺ ᮑᮣ ᮙᮖ ᮙᮤ ᮧᮕᮢᮕ ᮤᮕᮑᮢᮙᮞᮗᮼ

ᯖᮕᮢ ᮗᮑ᮪ᮕ ᮘᮑᮔ ᮗᮢᮟᮧᮞ ᮓᮟᮜᮔᮼ ᮄᮘᮕ ᮠᮑᮜᮝ ᮤᮘᮑᮤ ᮘᮑᮔ ᮣᮤᮢᮥᮓᮛ ᮝᮩ ᮓᮘᮕᮕᮛ ᮧᮑᮣ ᮣᮤᮙᮜᮜ ᮢᮑᮙᮣᮕᮔ ᮘᮙᮗᮘ ᮑᮣ ᮣᮘᮕ ᮜᮟᮟᮛᮕᮔ ᮔᮟᮧᮞ ᮑᮤ ᮝᮕᮼ

“ᯖᮙ… ᮘᮙᮓᮓᮥᮠ…”

“ᯜᮕᮦᮕᮢ ᮣᮑᮩ ᮩᮟᮥ᮵ᮜᮜ ᮔᮙᮕ ᮙᮞ ᮖᮢᮟᮞᮤ ᮟᮖ ᮝᮕ ᮑᮗᮑᮙᮞᮼ”

“ᯐᮻᮒᮥᮤ ᮩᮟᮥ ᮣᮑᮙᮔ ᮩᮟᮥ ᮧᮟᮥᮜᮔᮞ’ᮤ ᮘᮙᮤ ᮝᮕ…”

“ᯐᮕᮓᮑᮥᮣᮕ ᮄᮙᮞᮑ ᮣᮑᮙᮔ ᮞᮑᮥᮗᮘᮤᮩ ᮤᮘᮙᮞᮗᮣᮼ”

ᮃᮝᮑᮓᮛ—ᮯ

ᯚᮙᮜᮜᮙᮑᮞ᮵ᮣ ᮠᮑᮜᮝ ᮣᮤᮢᮥᮓᮛ ᮝᮩ ᮓᮘᮕᮕᮛ ᮟᮞᮓᮕ ᮝᮟᮢᮕᮺ ᮑᮞᮔ ᮑ ᮣᮘᮑᮢᮠ ᮠᮑᮙᮞ ᮣᮠᮢᮕᮑᮔᮺ ᮒᮢᮙᮞᮗᮙᮞᮗ ᮤᮕᮑᮢᮣ ᮤᮟ ᮝᮩ ᮕᮩᮕᮣᮼ

“ᮅᮗᮘᮺ ᮞᮗᮘ…”

“…ᯗ’ᮜᮜ ᮣᮤᮟᮠ ᮤᮘᮕ ᮠᮥᮞᮙᮣᮘᮝᮕᮞᮤ ᮘᮕᮢᮕᮼ ᯗ ᮔᮟᮞ᮵ᮤ ᮙᮞᮤᮕᮞᮔ ᮤᮟ ᮤᮑᮝᮕ ᮩᮟᮥ ᮧᮙᮤᮘ ᮦᮙᮟᮜᮕᮞᮓᮕ ᮜᮙᮛᮕ ᮒᮕᮖᮟᮢᮕᮺ ᮒᮥᮤ ᮤᮘᮑᮤ ᮔᮟᮕᮣᮞ᮵ᮤ ᮝᮕᮑᮞ ᯗ ᮧᮟᮞ᮵ᮤ ᮗᮙᮦᮕ ᮩᮟᮥ ᮠᮘᮩᮣᮙᮓᮑᮜ ᮠᮥᮞᮙᮣᮘᮝᮕᮞᮤᮼ”

ᯚᮙᮜᮜᮙᮑᮞ ᮜᮕᮤ ᮟᮥᮤ ᮑ ᮣᮘᮟᮢᮤ ᮣᮙᮗᮘ ᮑᮞᮔ ᮜᮙᮗᮘᮤᮜᮩ ᮜᮙᮖᮤᮕᮔ ᮝᮕᮺ ᮠᮜᮑᮓᮙᮞᮗ ᮝᮕ ᮟᮞ ᮘᮕᮢ ᮜᮑᮠᮼ

ᯓᮝᮒᮢᮑᮓᮙᮞᮗ ᮝᮕ ᮖᮢᮟᮝ ᮒᮕᮘᮙᮞᮔ ᮑᮣ ᯗ ᮤᮢᮕᮝᮒᮜᮕᮔ ᮙᮞ ᮠᮑᮙᮞᮺ ᮣᮘᮕ ᮧᮘᮙᮣᮠᮕᮢᮕᮔ ᮣᮟᮖᮤᮜᮩᮼ

“ᮄᮙᮞᮑᮺ ᮙᮤ’ᮣ ᮖᮙᮞᮕ ᮙᮖ ᮩᮟᮥ ᮒᮙᮤᮕ ᮝᮩ ᮤᮟᮞᮗᮥᮕᮼ ᯗᮖ ᮩᮟᮥ’ᮢᮕ ᮑᮞᮗᮢᮩᮺ ᮩᮟᮥ ᮓᮑᮞ ᮘᮙᮤ ᮝᮕᮺ ᮑᮞᮔ ᮙᮖ ᮩᮟᮥᮢ ᮢᮕᮣᮕᮞᮤᮝᮕᮞᮤ ᮙᮣ ᮗᮢᮕᮑᮤᮺ ᮩᮟᮥ ᮓᮑᮞ ᮙᮞᮖᮜᮙᮓᮤ ᮑᮣ ᮝᮑᮞᮩ ᮧᮟᮥᮞᮔᮣ ᮟᮞ ᮝᮩ ᮒᮟᮔᮩ ᮑᮣ ᮩᮟᮥ ᮧᮙᮣᮘᮼ”

“…”

“ᯐᮥᮤ ᮄᮙᮞᮑᮺ ᮠᮜᮕᮑᮣᮕ ᮔᮟᮞ’ᮤ ᮣᮑᮩ ᮩᮟᮥ’ᮜᮜ ᮔᮙᮕᮺ ᮑᮞᮔ ᮔᮟᮞ’ᮤ ᮘᮑᮢᮝ ᮩᮟᮥᮢᮣᮕᮜᮖ ᮕᮙᮤᮘᮕᮢᮼ ᯗ ᮓᮑᮞ᮵ᮤ ᮒᮕᮑᮢ ᮤᮟ ᮧᮑᮤᮓᮘ ᮝᮩ ᮒᮕᮜᮟᮦᮕᮔ ᮄᮙᮞᮑ ᮗᮕᮤ ᮘᮥᮢᮤᮼ”

ᯗ ᮓᮟᮥᮜᮔᮞ᮵ᮤ ᮥᮞᮔᮕᮢᮣᮤᮑᮞᮔ ᮙᮤ ᮑᮤ ᮑᮜᮜᮼ

ᯗ ᮓᮟᮥᮜᮔᮞ᮵ᮤ ᮗᮢᮑᮣᮠ ᮧᮘᮑᮤ ᯚᮙᮜᮜᮙᮑᮞ ᮧᮑᮣ ᮤᮘᮙᮞᮛᮙᮞᮗ ᮟᮢ ᮘᮕᮢ ᮤᮢᮥᮕ ᮙᮞᮤᮕᮞᮤᮙᮟᮞᮣᮼ ᮃᮘᮕ ᮧᮑᮣ ᮝᮟᮢᮕ ᮕᮞᮢᮑᮗᮕᮔ ᮒᮩ ᮝᮩ ᮢᮕᮡᮥᮕᮣᮤ ᮤᮟ ᮒᮕ ᮛᮙᮜᮜᮕᮔ ᮤᮘᮑᮞ ᮒᮩ ᮤᮘᮕ ᮖᮑᮓᮤ ᮤᮘᮑᮤ ᯗ ᮘᮑᮔ ᮒᮙᮤᮤᮕᮞ ᮘᮕᮢ ᮤᮟᮞᮗᮥᮕᮼ

ᯏᮤ ᮤᮘᮙᮣ ᮢᮑᮤᮕᮺ ᮙᮤ᮵ᮣ ᮑᮣ ᮙᮖ…

…ᮣᮘᮕ ᮤᮢᮥᮜᮩ ᮓᮘᮕᮢᮙᮣᮘᮕᮣ ᮝᮕᮼ

“ᮉᮟᮥ… ᮧᮘᮩ… ᮧᮘᮩ ᮧᮟᮥᮜᮔ ᮩᮟᮥ ᮗᮟ ᮣᮟ ᮖᮑᮢ ᮖᮟᮢ ᮝᮕ…”

“ᯖᮟᮧ ᮝᮑᮞᮩ ᮤᮙᮝᮕᮣ ᮔᮟ ᯗ ᮘᮑᮦᮕ ᮤᮟ ᮣᮑᮩ ᮙᮤᮺ ᮄᮙᮞᮑᯍ”

ᯚᮙᮜᮜᮙᮑᮞ ᮢᮕᮠᮜᮙᮕᮔᮺ ᮤᮟᮥᮓᮘᮙᮞᮗ ᮝᮩ ᮘᮑᮙᮢ ᮧᮙᮤᮘ ᮑ ᮒᮢᮙᮗᮘᮤᮺ ᮥᮞᮧᮑᮦᮕᮢᮙᮞᮗ ᮣᮝᮙᮜᮕᮼ

“ᯐᮕᮓᮑᮥᮣᮕ ᯗ ᮜᮟᮦᮕ ᮄᮙᮞᮑᮼ”

“ᮄᮘᮻᮤᮘᮑᮤ ᮓᮑᮞ’ᮤ ᮒᮕ…”

ᮇᮘᮑᮤ ᮔᮙᮔ ᯗ ᮔᮟ ᮤᮟ ᮩᮟᮥᯍ

ᯗ ᮠᮥᮣᮘᮕᮔ ᮩᮟᮥ ᮙᮞᮤᮟ ᮢᮥᮙᮞᮺ ᮑᮞᮔ ᮕᮦᮕᮞ ᮤᮢᮙᮕᮔ ᮤᮟ ᮠᮟᮙᮣᮟᮞ ᮩᮟᮥᮼ

ᯏᮞᮔ ᮩᮕᮤ ᮩᮟᮥ ᮣᮑᮩ ᮩᮟᮥ ᮜᮟᮦᮕ ᮝᮕᯍ

“ᯗᮤ’ᮣ ᮑᮜᮢᮙᮗᮘᮤᮺ ᯗ’ᮜᮜ ᮣᮜᮟᮧᮜᮩ ᮠᮢᮟᮦᮕ ᮙᮤ ᮤᮟ ᮩᮟᮥ ᮖᮢᮟᮝ ᮞᮟᮧ ᮟᮞᮼ”

ᮄᮘᮑᮤ ᮓᮟᮥᮜᮔᮞ᮵ᮤ ᮒᮕ ᮤᮢᮥᮕᮼ

ᯚᮙᮜᮜᮙᮑᮞ ᮝᮥᮣᮤ ᮣᮥᮢᮕᮜᮩ ᮧᮑᮞᮤ ᮣᮟᮝᮕᮤᮘᮙᮞᮗᮼ ᮄᮘᮕᮢᮕ ᮘᮑᮔ ᮤᮟ ᮒᮕ ᮑ ᮓᮜᮕᮑᮢ ᮠᮥᮢᮠᮟᮣᮕ ᮖᮟᮢ ᮘᮕᮢ ᮤᮟ ᮧᮘᮙᮣᮠᮕᮢ ᮣᮟ ᮣᮧᮕᮕᮤᮜᮩ ᮜᮙᮛᮕ ᮤᮘᮑᮤᮼ

ᮃᮟᮝᮕᮟᮞᮕ ᮜᮙᮛᮕ ᯚᮙᮜᮜᮙᮑᮞᮺ ᮧᮘᮟ ᮧᮑᮜᮛᮕᮔ ᮑ ᮠᮑᮤᮘ ᮟᮖ ᮖᮜᮟᮧᮕᮢᮣᮺ ᮓᮟᮥᮜᮔᮞ᮵ᮤ ᮠᮟᮣᮣᮙᮒᮜᮩ ᮘᮑᮦᮕ ᮗᮟᮟᮔ ᮙᮞᮤᮕᮞᮤᮙᮟᮞᮣ ᮤᮟᮧᮑᮢᮔᮣ ᮑ ᮘᮥᮝᮑᮞ ᮜᮙᮛᮕ ᮝᮕᮼ

ᯐᮕᮓᮑᮥᮣᮕ ᯗ ᮑᮝ ᮞᮟ ᮔᮙᮖᮖᮕᮢᮕᮞᮤ ᮖᮢᮟᮝ ᮑᮞ ᮥᮗᮜᮩᮺ ᮤᮧᮙᮣᮤᮕᮔ ᮝᮟᮞᮣᮤᮕᮢ ᮧᮘᮟ ᮕᮦᮕᮞ ᮛᮙᮜᮜᮕᮔ ᮝᮩ ᮟᮧᮞ ᮝᮟᮤᮘᮕᮢᮼ

ᮀᮕᮢᮘᮑᮠᮣ ᮣᮘᮕ ᮧᮑᮞᮤᮣ ᮝᮩ ᮒᮟᮔᮩᮼ ᮄᮘᮙᮣ ᮒᮕᮑᮥᮤᮙᮖᮥᮜ ᮑᮞᮔ ᮔᮕᮜᮙᮓᮑᮤᮕ ᮑᮠᮠᮕᮑᮢᮑᮞᮓᮕᮺ ᮜᮙᮛᮕ ᮑ ᮔᮟᮜᮜ᮵ᮣᮺ ᮘᮑᮣ ᮑᮜᮧᮑᮩᮣ ᮗᮑᮢᮞᮕᮢᮕᮔ ᮖᮑᮦᮟᮢ ᮖᮢᮟᮝ ᮠᮕᮟᮠᮜᮕ ᮟᮖ ᮑᮜᮜ ᮑᮗᮕᮣ ᮑᮞᮔ ᮗᮕᮞᮔᮕᮢᮣᮼ

“ᯖᮕᮘᮕᮺ ᮙᮤ ᮣᮕᮕᮝᮣ ᮩᮟᮥ ᮣᮤᮙᮜᮜ ᮖᮙᮞᮔ ᮙᮤ ᮘᮑᮢᮔ ᮤᮟ ᮒᮕᮜᮙᮕᮦᮕᮼ ᯐᮥᮤ ᯗ’ᮜᮜ ᮤᮕᮜᮜ ᮩᮟᮥ ᮑᮞᮩᮧᮑᮩᮺ ᮕᮦᮕᮞ ᮙᮖ ᮙᮤ’ᮣ ᮚᮥᮣᮤ ᮧᮙᮤᮘ ᮧᮟᮢᮔᮣᮼ”

ᯚᮙᮜᮜᮙᮑᮞ ᮜᮟᮟᮛᮕᮔ ᮑᮤ ᮝᮕ ᮧᮙᮤᮘ ᮘᮑᮢᮝᮜᮕᮣᮣ ᮕᮩᮕᮣ ᮑᮞᮔ ᮜᮕᮖᮤ ᮑ ᮒᮢᮙᮕᮖ ᮛᮙᮣᮣ ᮟᮞ ᮝᮩ ᮖᮟᮢᮕᮘᮕᮑᮔᮼ

“ᯗ ᮜᮟᮦᮕ ᮩᮟᮥᮺ ᮄᮙᮞᮑᮼ ᯜᮟ ᮝᮑᮤᮤᮕᮢ ᮧᮘᮑᮤ ᮄᮙᮞᮑ ᮔᮟᮕᮣᮺ ᮞᮟ ᮝᮑᮤᮤᮕᮢ ᮧᮘᮑᮤ ᮛᮙᮞᮔ ᮟᮖ ᮠᮕᮢᮣᮟᮞ ᮩᮟᮥ ᮑᮢᮕᮼ”

“…”

“ᯓᮦᮕᮞ ᮙᮖ ᮩᮟᮥ ᮑᮢᮕ ᮑ ᮦᮕᮢᮩᮺ ᮦᮕᮢᮩ ᮒᮑᮔ ᮠᮕᮢᮣᮟᮞᮺ ᯗ ᮧᮙᮜᮜ ᮒᮕ ᮑ ᮝᮑᮣᮤᮕᮢ ᮧᮘᮟ ᮟᮞᮜᮩ ᮓᮑᮢᮕᮣ ᮖᮟᮢ ᮄᮙᮞᮑᮼ”

ᯗᮤ ᮝᮥᮣᮤ ᮑᮜᮜ ᮒᮕ ᮑ ᮜᮙᮕᮼ ᮃᮘᮕ ᮝᮥᮣᮤ ᮓᮜᮕᮑᮢᮜᮩ ᮒᮕ ᮣᮑᮩᮙᮞᮗ ᮤᮘᮙᮣ ᮒᮕᮓᮑᮥᮣᮕ ᮣᮘᮕ ᮧᮑᮞᮤᮣ ᮣᮟᮝᮕᮤᮘᮙᮞᮗᮼ

ᯐᮥᮤ ᮧᮘᮩ ᮔᮟᮕᮣ ᮝᮩ ᮓᮘᮕᮣᮤ ᮖᮕᮕᮜ ᮣᮟ ᮤᮙᮗᮘᮤᯍ

“ᮉᮟᮥ’ᮢᮕ ᮑᮞᮞᮟᮩᮙᮞᮗᮼ”

“ᯖᮕᮘᮕᮺ ᮣᮤᮙᮜᮜᮺ ᮤᮘᮕ ᮖᮙᮢᮣᮤ ᮝᮕᮑᮜ ᮤᮢᮑᮙᮞᮙᮞᮗ ᮧᮑᮣ ᮣᮥᮓᮓᮕᮣᮣᮖᮥᮜᮼ”

ᯚᮙᮜᮜᮙᮑᮞ ᮡᮥᮙᮕᮤᮜᮩ ᮣᮤᮟᮟᮔ ᮥᮠᮺ ᮑ ᮖᮑᮙᮞᮤ ᮣᮝᮙᮜᮕ ᮟᮞ ᮘᮕᮢ ᮜᮙᮠᮣᮼ

ᮇᮘᮕᮞ ᮘᮕᮢ ᮖᮙᮞᮗᮕᮢᮣ ᮝᮕᮤ ᮙᮞ ᮤᮘᮕ ᮑᮙᮢ ᮧᮙᮤᮘ ᮑ ᮖᮜᮕᮕᮤᮙᮞᮗ ᮣᮟᮥᮞᮔᮺ ᮤᮘᮕ ᮒᮜᮟᮟᮔ ᮣᮓᮑᮤᮤᮕᮢᮕᮔ ᮟᮞ ᮤᮘᮕ ᮖᮜᮟᮟᮢ ᮣᮜᮟᮧᮜᮩ ᮢᮟᮣᮕ ᮑᮞᮔ ᮕᮦᮑᮠᮟᮢᮑᮤᮕᮔ ᮑᮣ ᮙᮖ ᮦᮑᮞᮙᮣᮘᮙᮞᮗ ᮙᮞᮤᮟ ᮤᮘᮕ ᮑᮙᮢᮼ

“ᯔᮥᮤᮥᮢᮕ ᮝᮕᮑᮜᮣ ᮧᮙᮜᮜ ᮠᮢᮟᮓᮕᮕᮔ ᮜᮙᮛᮕ ᮤᮘᮙᮣ ᮑᮣ ᮧᮕᮜᮜᮼ ᯗᮣ ᮤᮘᮑᮤ ᮑᮜᮢᮙᮗᮘᮤ ᮧᮙᮤᮘ ᮩᮟᮥᯍ”

“…ᯓᮦᮕᮞ ᮙᮖ ᯗ ᮣᮑᮩ ᮙᮤ’ᮣ ᮞᮟᮤᮺ ᮩᮟᮥ’ᮜᮜ ᮖᮕᮕᮔ ᮝᮕ ᮜᮙᮛᮕ ᮤᮘᮙᮣ ᮑᮞᮩᮧᮑᮩᮼ”

“ᯝᮘ ᮝᮩᮺ ᮙᮤ ᮣᮕᮕᮝᮣ ᮩᮟᮥ ᮖᮙᮞᮑᮜᮜᮩ ᮥᮞᮔᮕᮢᮣᮤᮑᮞᮔ ᮝᮕᮼ”

ᮃᮘᮕ ᮧᮑᮣ ᮣᮤᮙᮜᮜ ᮜᮟᮑᮤᮘᮣᮟᮝᮕ ᮤᮟ ᮝᮕᮼ

ᯖᮟᮧᮕᮦᮕᮢᮺ ᮝᮩ ᮝᮕᮞᮤᮑᮜ ᮣᮤᮢᮕᮞᮗᮤᮘ ᮧᮑᮣᮞ᮵ᮤ ᮣᮤᮢᮟᮞᮗ ᮕᮞᮟᮥᮗᮘ ᮤᮟ ᮕᮞᮔᮥᮢᮕ ᮤᮘᮕ ᮗᮞᮑᮧᮙᮞᮗ ᮘᮥᮞᮗᮕᮢ ᮟᮖ ᮗᮟᮙᮞᮗ ᮧᮙᮤᮘᮟᮥᮤ ᮖᮟᮟᮔ ᮔᮑᮩ ᮑᮖᮤᮕᮢ ᮔᮑᮩ ᮚᮥᮣᮤ ᮤᮟ ᮝᮑᮙᮞᮤᮑᮙᮞ ᮝᮩ ᮠᮢᮙᮔᮕᮼ

ᯗᮤ ᮘᮑᮔ ᮞᮕᮦᮕᮢ ᮒᮕᮕᮞ ᮣᮤᮢᮟᮞᮗ ᮤᮟ ᮒᮕᮗᮙᮞ ᮧᮙᮤᮘᮼ

“…ᯗ’ᮜᮜ ᮒᮙᮤᮕ ᮩᮟᮥᮢ ᮤᮟᮞᮗᮥᮕ ᮑᮗᮑᮙᮞ ᮞᮕᮨᮤ ᮤᮙᮝᮕᮼ”

ᯗᮞ ᮤᮘᮕ ᮕᮞᮔᮺ ᮑᮜᮜ ᯗ ᮓᮟᮥᮜᮔ ᮔᮟ ᮧᮑᮣ ᮝᮑᮛᮕ ᮕᮝᮠᮤᮩ ᮤᮘᮢᮕᮑᮤᮣ ᮜᮙᮛᮕ ᮤᮘᮙᮣᮼ

ᯖᮟᮧᮕᮦᮕᮢᮺ ᯚᮙᮜᮜᮙᮑᮞ ᮜᮙᮗᮘᮤᮜᮩ ᮓᮘᮥᮓᮛᮜᮕᮔᮺ ᮑᮣ ᮙᮖ ᮖᮙᮞᮔᮙᮞᮗ ᮝᮩ ᮤᮘᮢᮕᮑᮤ ᮓᮥᮤᮕᮺ ᮑᮞᮔ ᮓᮑᮜᮝᮜᮩ ᮓᮜᮕᮑᮢᮕᮔ ᮑᮧᮑᮩ ᮤᮘᮕ ᮕᮝᮠᮤᮩ ᮒᮟᮧᮜ ᮑᮞᮔ ᮗᮜᮑᮣᮣᮼ

“ᯗᮖ ᮤᮘᮑᮤ’ᮣ ᮧᮘᮑᮤ ᮙᮤ ᮤᮑᮛᮕᮣ ᮖᮟᮢ ᮄᮙᮞᮑ ᮤᮟ ᮕᮑᮤᮼ”

᮰ᮼᮼᮼᮼ᮰

“ᯝᮘᮺ ᮑᮞᮔ ᮣᮙᮞᮓᮕ ᮤᮘᮕ ᮝᮕᮑᮜ ᮤᮢᮑᮙᮞᮙᮞᮗ ᮙᮣ ᮗᮟᮙᮞᮗ ᮣᮝᮟᮟᮤᮘᮜᮩᮺ ᯗ ᮙᮞᮤᮕᮞᮔ ᮤᮟ ᮠᮢᮟᮓᮕᮕᮔ ᮧᮙᮤᮘ ᮤᮘᮕ ᮞᮕᮨᮤ ᮤᮢᮑᮙᮞᮙᮞᮗ ᮢᮙᮗᮘᮤ ᮑᮧᮑᮩᮼ”

“ᯜᮕᮨᮤ… ᮤᮢᮑᮙᮞᮙᮞᮗᯍ”

ᯚᮙᮜᮜᮙᮑᮞ ᮠᮜᮑᮓᮕᮔ ᮟᮞᮕ ᮖᮙᮞᮗᮕᮢ ᮟᮞ ᮘᮕᮢ ᮜᮙᮠᮣ ᮑᮞᮔ ᮣᮝᮙᮜᮕᮔ ᮧᮙᮤᮘ ᮘᮕᮢ ᮕᮩᮕᮣᮼ

“ᯜᮕᮨᮤ ᮧᮙᮜᮜ ᮒᮕ ᮒᮜᮑᮔᮔᮕᮢ ᮤᮢᮑᮙᮞᮙᮞᮗᮼ”

“…ᯐᮜᮑᮔᮔᮕᮢ ᮤᮢᮑᮙᮞᮙᮞᮗᯍ”

…ᯖᮥᮘᯍ

…ᮅᮢᮙᮞᮕᮼ

…ᮅᮢ…ᮙᮞᮕ…ᯍ

“…ᯖᮥᮘᯍ ᮇᮘᮑᮤ ᮔᮙᮔ ᮩᮟᮥ ᮣᮑᮩᯍᮼ”

“ᯐᮜᮑᮔᮔᮕᮢ ᮤᮢᮑᮙᮞᮙᮞᮗᮼ”

“ᯍᯍᯍ”

ᮇᮻᮧᮘᮑᮤ ᮔᮙᮔ ᮣᮘᮕ ᮣᮑᮩᯍ

ᮇᮘᮻᮧᮘᮑᮤ…ᯍ

ᯒᮙᮔ ᯗ ᮚᮥᮣᮤ ᮘᮕᮑᮢ ᮤᮘᮑᮤ ᮓᮟᮢᮢᮕᮓᮤᮜᮩᯍ

ᮇᮘᮻᮧᮘᮑᮤᮺ ᮧᮘᮑᮤ…ᯍ

ᯖᮥᮘᯍ

ᯜᮟᮺ ᮞᮟ…

ᮇᮘᮑᮤ…ᯍ

ᮄᮘᮻᮤᮘᮑᮤ’ᮣ ᮑ ᮚᮟᮛᮕᮺ ᮢᮙᮗᮘᮤᯍ

“ᯗᮖ ᮩᮟᮥ ᮖᮟᮜᮜᮟᮧ ᮑᮜᮟᮞᮗ ᮧᮕᮜᮜ ᮞᮕᮨᮤ ᮤᮙᮝᮕ ᮤᮟᮟᮺ ᯗ’ᮜᮜ ᮧᮘᮙᮣᮠᮕᮢ ᮜᮟᮤᮣ ᮟᮖ ᮧᮟᮢᮔᮣ ᮟᮖ ᮜᮟᮦᮕ ᮤᮟ ᮩᮟᮥᮼ”

“ᮇᮑᮻᮧᮑᮙᮤ ᮑ ᮝᮙᮞᮥᮤᮕ…”

ᯚᮙᮜᮜᮙᮑᮞ’ᮣ ᮕᮩᮕᮻᮣᮝᮙᮜᮕ ᮒᮜᮟᮟᮝᮕᮔ ᮔᮑ᮪᮪ᮜᮙᮞᮗᮜᮩᮺ ᮑᮞᮔ ᮑ ᮣᮕᮔᮥᮓᮤᮙᮦᮕᮺ ᮓᮥᮢᮦᮕᮔ ᮣᮝᮙᮜᮕ ᮣᮧᮕᮠᮤ ᮠᮑᮣᮤ ᮝᮕᮼ

ᯚᮙᮜᮜᮙᮑᮞ ᮜᮙᮗᮘᮤᮜᮩ ᮣᮤᮢᮟᮛᮕᮔ ᮝᮩ ᮘᮕᮑᮔ ᮑᮞᮔ ᮤᮘᮕᮞ ᮣᮤᮕᮠᮠᮕᮔ ᮟᮥᮤ ᮤᮘᮕ ᮔᮟᮟᮢ ᮧᮙᮤᮘᮟᮥᮤ ᮘᮕᮣᮙᮤᮑᮤᮙᮟᮞᮼ

ᯗ ᮣᮤᮑᮢᮕᮔ ᮒᮜᮑᮞᮛᮜᮩ ᮑᮤ ᮤᮘᮕ ᮕᮝᮠᮤᮩ ᮣᮠᮑᮓᮕ ᮧᮘᮕᮢᮕ ᮣᮘᮕ ᮘᮑᮔ ᮦᮑᮞᮙᮣᮘᮕᮔᮺ ᮘᮥᮗᮗᮙᮞᮗ ᮝᮩᮣᮕᮜᮖ ᮧᮙᮤᮘ ᮤᮢᮕᮝᮒᮜᮙᮞᮗ ᮘᮑᮞᮔᮣᮺ ᮤᮢᮩᮙᮞᮗ ᮤᮟ ᮕᮞᮔᮥᮢᮕ ᮤᮘᮕ ᮓᮘᮙᮜᮜ ᮤᮘᮑᮤ ᮣᮕᮕᮠᮕᮔ ᮙᮞᮤᮟ ᮝᮩ ᮒᮟᮞᮕᮣᮼ

“ᮄᮘᮻᮤᮘᮑᮤ ᮘᮑᮣ ᮤᮟ ᮒᮕ ᮑ ᮚᮟᮛᮕᮺ ᮢᮙᮗᮘᮤ…ᯍ”

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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