In this article, I discuss the vilification of Kṛṣṇa as a deceitful sorcerer in the Mughal poet-laureate Shaikh Abū'l Faiḍ bin Mubārak, or ‘Faiḍī's Mahābhārat and his correspondent apotheosis as the ‘essence of the True God' in the Shāriq al-maʿrifat, a treatise also ascribed to Faiḍī. As I argue, this inconsistency, or ambivalence, is a common and overlooked facet of the elite Islamicate engagement with religious diversity and difference in early modern Hindustan. In the case of the Mahābhārat, however, Faiḍī's portrayal of Kṛṣṇa as a deceitful illusionist reflects not only an Islamic discomfort with Vaishnavite theology, but Faiḍī's own performative insecurities as a Hindustani writer of Persian poetry and literary prose. Kṛṣṇa's so-called ‘magic’ lies in large part in his way with words: the verbal and social manipulation he uses to stoke the flames of conflict. The character thus becomes a kind of shadow or double of Faiḍī himself-a demiurgic author of the Mahābhārat upon which the poet can displace the classical Islamicate association of poetry with sorcery and deceit.
