The women who are under pollution come from the middle room, each carrying a lighted wick, walk thrice round the pot, and throw the wicks into the water. The woman who has watched the lamp puts four annas into the pot, and the others deposit a few pies therein. The eldest son now lights a wick from the iron lamp which is about to be extinguished, and with it lights a lamp in the middle room. The barber then dips the iron lamp in the water, and picks out the money as his perquisite. The water is poured on the roots of a cocoanut tree. The bell-metal vessel becomes the property of the woman who watched the lamp, but she cannot take it away until she leaves the house after the pula-kuli ceremony. When the lamp has been extinguished, a woman, hired for the occasion, is seated on a cocoanut leaf in the front yard. The Tandan pours oil on her head three times, and she receives a little betel and two annas. She rises, and leaves the place without turning back, taking the pollution with her. Betel is then distributed. Those who provided the death gifts on the day of the death must on this day bring with them a bag of rice, and about four rupees in money. They have also to give eight annas to the barber. A folded handkerchief is first presented to the barber, who formally returns it, and receives instead of it the eight annas. Before the people disperse, the day of the pula-kuli is settled. Pula-kuli, or washing away the pollution, is the final ceremony for putting off the unpleasant consequences of a death in a family. First of all, the members thereof rub themselves all over with oil, and are sprinkled by the barber with cow's milk and gingelly oil. They then bathe. The barber outlines the figure of a man or woman, according to the sex of the deceased, with rice flour and turmeric powder, the head to the south, in the middle room of the house. The figure is covered with two plantain leaves, on each of which a little rice and paddy are heaped. Over all is spread a new cloth, with a basket containing three measures of paddy upon it. The eldest son (the heir) sits facing the south, and with a nazhi measures out the paddy, which he casts to the south, east, and west--not the north. He repeats the performance, using the fingers of the left hand closed so as to form a cup as a measure. Then, closing the first and fourth fingers firmly with the thumb, using the left hand, he measures some paddy in the same manner with the two extended fingers. Rice is treated in the same way. A nazhi of paddy, with a lighted wick over it, is then placed in a basket. The eldest son takes the nazhi in his left hand, passes it behind his body, and, receiving it with his right hand, replaces it in the basket. The wick is extinguished by sprinkling it with water three times. At the head of the figure on the floor is placed a clean cloth--the washerman's mattu. It is folded, and within the folds are three nazhis of rice. On the top of it a cocoanut is placed.