Konjaku Monogatarishū Vol. 2, Tale 1: Śuddhodana's Death #1 (part 9)

Fig. 2:
阿羅漢
來テ海
ノ邊リ
ニ流レ
寄タル
栴檀ノ
木ヲ拾
ヒ集メ
テ

And now the final part of this tale:

Fig. 1: 霊鷲山ニ
入ムト為ル時ニ

霊鷲山ニ入（はいら）ムト為（す）ル時ニ、阿羅漢（あらかん）來て海ノ邊（ほと）リニ流レ寄（よせ）タル栴檀ノ木ヲ拾ヒ集メテ、大王ノ御身ヲ焼キ奉ル。

When [they] were about to arrive at at Vulture Peak (fig. 1), arhat came [to Śuddhodana]. [They] picked up and gathered chinaberry wood drifting along the side of the sea (fig. 2), and burned the Great King's body (fig. 3).

The only thing that tripped me up in fig. 1 was the verb 「入ム」. I'm guessing the meaning is the same as 「入る」, but I couldn't find any dictionary entries to prove this. So I just assumed that was the meaning, and got the reading from an unrelated entry, for 「見に入む」, where 「入」 was read as 「し」.

Edit: as Chris has mentioned in the comments, 「むとす」 is a phrase which has the same meaning as 「しようとする」 in modern Japanese (see entry 2 here). In this case, the interpretation "to be about to do X" is the more likely one. 「為る」 is 「す」 in the attributive form （連体形）.

Fig. 3: 大王
ノ御身ヲ
焼キ奉ル

We previously encountered (fig. 1) the term 「阿羅漢果」, meaning "arhathood." Here we see the truncated term 「阿羅漢」, which means just "arhat."

In fig. 2, we see the verb 「寄タル」. This can be parsed as the verb 「寄す」 (with the okurigana folded into the furigana) in the realis form （已然形） followed by the auxiliary verb 「たり」 (indicating resultativeness) in the attributive form （連体形）.

空くうヲ響カス。

The emptiness reverberated (fig. 4).

Fig. 4: 空ヲ
響カス

The first kanji we see here, 「空」, has a Buddhism-specific interpretation. It refers to śūnyatā, which has many differing meanings related to emptiness. I don't know much about the topic, so I'm not sure of the exact religious significance of the sentence in fig. 4.

Fig. 5: 其ノ時
ニ佛无常ノ文
ヲ說給フ

其ノ時ニ佛、无常（むじょう）ノ文ヲ說（とき）給フ。

At that moment, the Buddha preached the writings on transience (fig. 5).

The first thing to note here is the use of the word 「無常」 with an alternate kanji, 「无」.

The reading for the kanji 「說」 was just a guess, based on the verb 「説く」.

Edit: as Chris has suggested, the reading for the kanji 「說」 is most likely 「とき」, another case where the okurigana from 「説く」 has been folded into the furigana.

As with fig. 4, I'm not too sure of the religious significance of fig. 5.

焼キ畢（おわり）奉リツレハ舎利ヲ拾ヒ集メテ、金ノ箱ニ入レテ塔ヲ立（たつ）テ置キ奉（たてまつり）ケリトナム語リ傳（つた）ヘタルトヤ。

When [the body] had finished burning, the remaining bones were picked up and gathered (fig. 6), then placed in a golden box. A stūpa was constructed [there], or so the story is told (fig. 7).

First of all, note the verb 「畢る」, in fig. 6. Once again, the okurigana have been folded into furigana. It is followed by the phrase 「奉リツレバ」 (the dakuten on 「バ」 are omitted in the original manuscript). This can be broken down as the verb 「奉る」 in the continuative form （連用形）, followed by 「ツレ」, which is the realis form of the auxiliary verb 「つ」, which makes the preceding verb perfective in this case. Finally, we have the conjunctive particle （接続助詞） 「バ」, which provides a temporal logical connection ("when") here.

Fig. 6: 焼キ
畢奉リツレ
ハ舎利ヲ拾
ヒ集メテ

Fig. 7: 金
ノ箱ニ入
レテ塔ヲ
立テ置キ
奉ケリト
ナム語り
傳ヘタル
トヤ

The term 「舎利」 also has a Buddhism-specific meaning, referring to the bones remaining after a body is cremated.

Moving on to fig. 7, there is the kanji 「塔」, which also takes on a Buddhism-specific meaning, this time stūpa, which is a type of burial mound that often contains the ashes of Buddhist monks. This kanji used by itself is an abbreviation of the terms 「卒塔婆」 and 「塔婆」.

A third instance of the okurigana being folded into the furigana is seen with 「奉ケリ」. The ending construct 「ケリトナム語リ傳ヘタルトヤ」 seems to be common to all stories in Konjaku, and likely in other works of this genre/time. 「ケリ」 indicates hearsay, while 「ナム」 emphasizes the preceding content. I translated it as "or so the story is told," but there are probably a lot of alternate translations, both more and less direct (in terms of meanings).