|Fig. 1: 大|
御手ヲ 取テ 我ガ 御胸ニ 曳寄セ給フ時ニ、 阿羅漢果ヲ 得給ヌ。
The Great King took the Buddha's hand and pulled it close to his own chest, at which point (fig. 1) he [Śuddhodana] ended up achieving arhathood (fig. 2).
|Fig. 2: 阿|
Another interesting observation for fig. 1 is how the kana 「セ」 actually looks much more like its hiragana equivalent 「せ」. This appears to be one of the few cases in this text where a kana favored the modern hiragana style over the katakana version.
|Fig. 3: 其ノ|
有テ、大王ノ 御命、 絶畢 給ヒヌ。
After that, some time passed, and the Great King's life came to an end (fig. 3).
|Fig. 4: 其ノ|
|Fig. 5: 皆哭|
At that time, inside the castle, the people, from top to bottom (fig. 4), everyone wept and grieved without limit (fig. 5).There's not too much to say here. We see an alternate kanji for the verb for "to weep" （泣く）. That verb is in the continuative form, followed by the verb 「悲む」 in the attributive form (also 「悲む」), as it is immediately followed by a noun （事）.
The same pattern with 「无限シ」 that we've seen many times before is repeated here.
|Fig. 6: 其ノ音|
Those sounds reverberated through the castle (fig. 6).The only thing of interest in fig. 6 is the verb ending. It is the verb 「響ク」 in the imperfective form （未然形） followed by the causative （使役） auxiliary verb 「す」 in the predicative form. It indicates the imposition of a deliberate action by someone on something/someone (in this case, that would be the sounds of the weeping causing reverberation through the castle). The word 「響かす」 exists as a verb by itself in modern Japanese, with the meaning of "to make something resound".
悪」後、 忽七宝ノ棺ヲ 作テ、大王ノ 御身ニハ 香湯ヲ 塗テ錦ノ衣ヲ着セ奉リテ棺ニ入レ奉レリ。
After the "evil" [passed], a coffin was immediately made using the seven treasures (fig. 7). The Great King's body was coated with scented hot water [i.e., it was bathed], and brocaded clothing was put on him. Then he was placed in the coffin (fig. 8).
|Fig. 7: 其ノ惡後|
|Fig. 8: 大王ノ御|
Edit: as Chris has suggested in the comments, it appears that the kanji in the original manuscript for 「惡」 is an itaiji (variant kanji) that is actually the 「西」 radical on top instead (and the 「心」 radical still on bottom). It's not clear why it's used here though.
Edit 2: it has been confirmed (by Chris) in an itaiji dictionary that the kanji with a 「西」 on top and a 「心」 on the bottom is a variant of 「惡」.
I'm guessing it refers to some sort of evil spirits, but I can't find any references to the existence of such a concept in Buddhism. I'm not an expert on the topic though, so I might have missed some stuff. Similarly, the use a coffin is perplexing when cremation is standard. Likely, the coffin was a temporary device used for ceremonial transportation of the body to the cremation location. In any case, that question will probably be resolved in a future post.
I didn't fully understand how to parse 「忽七宝」. By itself, 「七宝」 refers to the seven treasures of Buddhism, namely gold, silver, pearls, agate, crystal, coral, and lapis lazuli. 「忽」 can mean "immediately", which I thought was the most appropriate definition to use here.
Moving on to fig. 8, the reading for 「香湯」 (written as 「こうとう」 in modern Japanese) is something I was able to derive from dictionary entries such as this one. However, I couldn't find an entry for 「香湯」 itself, so I just guessed at the meaning based on the two separate kanji and the context.
We see another instance of 「せ」 vs. 「セ」 (as mentioned previously in the comments on fig. 1) in the verb 「着セ」. The second stroke of 「せ」 is clearly visible in the original manuscript. 「着セ」 is the continuative form of the premodern word 「
Fig. 8 ends with 「入レ奉レリ」, which can be broken down as 「入レ」＋「奉レ」＋「リ」. The first part is the verb 「