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Krishna, a MythSource painting
Indian

Krishna

01Identity

Devaki's eighth child survives a prophecy that should have killed him at birth: smuggled out of a prison cell and swapped for a cowherd's newborn daughter, he is carried by cow cart across the Yamuna river to grow up among Nanda's herders at Vrindavana. Grown, he returns to Mathura and kills the tyrant Kamsa himself, then protects the dead man's body from a furious crowd and presides over his funeral. He is described as the Supreme Lord, an incarnation of Vishnu born into a body he must one day leave, invulnerable to every weapon except the sole of one foot, the single gap a hunter's arrow later finds. He carries a discus, the Sudarshana chakra, that returns to his hand after it kills. He marries by carrying a bride away from her own wedding, beheads a king who has run out his hundred pardoned insults, teaches the Bhagavad Gita between two armies, and dies at Prabhasa as the sea closes over his city.

  • Described as the Supreme Lord and an incarnation of Vishnu, born into a mortal body that he must eventually leave. (Mahabharata: The Greatest Spiritual Epic of All Time)
  • Invulnerable to every weapon except the sole of one foot, the single gap a hunter's arrow finds at his death. (The Mahabharata: A Modern Rendering (2 Vols.))
Top questions
  • Who is Krishna?

    Krishna is an Indian deity.
    Source

    Source

    • The Great Golden Sacrifice of the Mahabharata
    • Mahabharata: The Greatest Spiritual Epic of All Time
    • The Mahabharata: A Modern Rendering (2 Vols.)
    • Mahabharata Vol. 2 (Penguin Translated Texts)
  • What family links are recorded for Krishna?

    Father: Vasudeva, Mother: Devakī, Spouse: Bhadra, 2 children, 2 siblings.
02Family
VasudevaDevakī
KrishnaBalaramaSubhadrā

with Bhadra, Jāmbavatī, Kalindi, Lakshmana, Lalita, Mitravinda, Nagnajiti, Rohini, Rukmiṇī, Satyabhāmā

PradyumnaSamba
03The names

the Dark One

used repeatedly for Krishna in The Mahabharata: A Modern Rendering, including at his most decisive acts

SourceThe Mahabharata: A Modern Rendering (2 Vols.)

Govinda

used as a form of address to Krishna at Yudhishthira's Rajasuya, immediately before Shishupala's death

SourceMahabharata: The Greatest Spiritual Epic of All Time

Madhusudana

used at the moment Krishna kills Shishupala, glossed in the same passage as the destroyer of his enemies

SourceMahabharata Vol. 2 (Penguin Translated Texts)

04The myths

9 myths, with sources recorded for each.

Kamsa killed each of Devaki's first six children within moments of their birth, certain that a prophecy naming her eighth child as his killer would come true. He imprisoned Devaki and her husband Vasudeva through the pregnancy, but when the eighth child was born, the infant was carried out of the cell and exchanged for a baby girl born the same night in the house of the cowherd Nanda and his wife Yasoda. Kamsa reached the girl first and killed her in the true child's place, believing his enemy already dead. Yasoda then carried the real Krishna away in a cow cart, across the Yamuna river, to raise him as her own son among Nanda's herders, alongside his brother Balarama, whose own life had already been saved before birth when a goddess moved him out of Devaki's womb into that of Vasudeva's other wife, Rohini.

Krishna grew up playing leaf whistles and a gourd drum with Balarama in the forest, far from any council of state or courtier, and later told his cousin Arjuna that men such as Duryodhana and Shishupala meant it as an insult when they called him a cowherd, not knowing what it had meant to him to grow up free in a village and wander the forest as a boy. When the truth of his birth reached the Kuru court, sages said that Krishna was in fact the Supreme Lord, and that his escape to Vrindavana had been his own arrangement rather than chance: God himself had appeared among Nanda's people.

Krishna's Birth and Escape to Vrindavana, a MythSource painting of the scene

4 sources· checked 2026-09-02

  1. 1The Oxford Companion to World MythologyT1
  2. 2Creation Myths of the World: Parts I-IIT1
  3. 3The Great Golden Sacrifice of the MahabharataT1
  4. 4Mahabharata: The Greatest Spiritual Epic of All TimeT1

Kamsa sent a motherly-looking woman named Putana into the village to kill the infant Krishna. She let him suckle at a breast she had smeared with poison, but she was the one who died, dropping dead with her eyes turned up to the sky while he still fed. Balarama, too young to remember Krishna's own birth in Kamsa's prison or the day the infant kicked over a loaded cart, remembered this one clearly, down to the way Putana had looked in death.

Long afterwards, asked what people said of his miracles, Krishna answered in his own words, and Putana's death was the first thing he named: that the ogress had fallen dead while giving him suck. He went on almost carelessly, in the same breath, through a longer list of things done and grown out of: kicking over a laden cart, eating a sweet meant for a god and being worshipped by the cowherds for it, killing a demon that had taken the shape of a bull, killing a wrestler, killing Kamsa's own general Sunama while he himself was still a boy, dancing on the head of a serpent that had been threatening the village. None of it, he said, using his own private nickname for the man listening to him, was what actually mattered. Left off that list entirely was the more astonishing claim people also made of him, that he had once restored his own teacher's dead son to life; some had said the boy was long past saving. Before this listener had ever met him, he too had heard Krishna spoken of only as a mystery, and even then, pressed to say what did matter to him if none of this did, Krishna only paused to think before he began to answer.

The Death of Putana, a MythSource painting of the scene

2 sources· checked 2026-09-02

  1. 1The Great Golden Sacrifice of the MahabharataT1
  2. 2The Great Golden Sacrifice of the MahabharataT1

Grown to a young man, Krishna returned to Mathura and killed King Kamsa, the uncle who had spent his whole life trying to kill him first. Kamsa's death was enough to make the crowd want to tear his body apart with their bare hands, in payment for the years he had spent murdering any child, including Krishna's own brothers, who might grow up to threaten him. Krishna would not allow it. He protected the tyrant's body himself and presided over the funeral in person. The Yadava chiefs despised Kamsa as much as anyone in Mathura, yet they despised themselves more, for having let his cruelty go unanswered for so long, and out of that shame they refused to come to the funeral at all. Krishna's answer, when he heard of their refusal, was short: after death, he said, there was no enmity left to hold.

Daruka, who had been there himself, later told the story to Arjuna one afternoon, adding a detail from its aftermath: that Jarasandha, whose two daughters had married Kamsa, then laid siege to Mathura, a siege everybody else had already heard of besides. He called Krishna's conduct that day noble, and repeating Krishna's own words about enmity was enough to silence them both for a moment. Arjuna answered, once he could speak again, with an echo of it: that when the Pandavas eventually killed Jarasandha himself, years afterwards, Krishna had the dead man's own son placed on his father's throne, and treated him with the same kindness he had once shown Kamsa's corpse.

The Killing of Kamsa, a MythSource painting of the scene

1 source· checked 2026-09-02

  1. 1The Great Golden Sacrifice of the MahabharataT1

Sent to live among Nanda's herdsmen to keep him hidden from his uncle's anger, Krishna grew up alongside his brother Balarama already full of a vigour that sometimes tipped into mischief: as a boy he overturned a loaded cart, pulled up a pair of trees by their roots, fought a great water snake, and helped Balarama bring down a dangerous demon, playing tricks on the god Indra along the way. The mightiest of these tricks came when the herdsmen prepared, as always, to make their offerings to Indra, the god who sent the rain their pastures depended on. Krishna told them to honour Mount Govardhana instead: it was the mountain that actually fed their herds and the cattle that gave them milk, he said, so the mountain deserved the worship, not the sky. He then climbed to its summit himself, announced that he was the mountain, and took the herdsmen's offerings as his own.

Indra, left out of his own worship, answered by pouring down cataracts of rain meant to drown the herdsmen and their cattle where they stood. Krishna lifted Mount Govardhana into the air and held it aloft on one finger, turning the mountain into a shelter for the herders and their cattle beneath it, safe from the god's rain.

The Lifting of Govardhana, a MythSource painting of the scene

1 source· checked 2026-09-02

  1. 1Larousse Encyclopedia of Mythology (ed. Félix Guirand, 1959)T1

Rukmini's brother Rukmi, a close friend of King Sishupala, arranged to give her to Sishupala in marriage. Rukmini loved Krishna instead, and sent him word before the wedding could take place. On the day set for the ceremony, in front of a hundred assembled kings, Krishna carried her away from Vidarbha and married her himself. Even before this, Krishna had already promised Sishupala's own mother, his aunt, that he would forgive up to a hundred insults from her son, a promise the loss of Rukmini only made harder for Sishupala to bear: he never forgave Krishna for it, and nursed the grievance for the rest of his life.

Rukmi took the humiliation just as hard. Everyone knew what Krishna had done to him that day, and years afterwards, arriving at Kurukshetra with an army of his own before the great war, Rukmi was still remembered first as Krishna's sworn enemy on account of it, a king who had since won conquests and a blessing from Siva but was known, in the same breath, as the brother whose sister had been taken from her own wedding. Sishupala, for his part, never let the matter rest: it became one grievance among an unending stream of insults he went on to hurl at Krishna for years afterwards.

The Marriage of Rukmini, a MythSource painting of the scene

4 sources· checked 2026-09-02

  1. 1The Mahabharata: A Modern Rendering (2 Vols.)T1
  2. 2Mahabharata: The Greatest Spiritual Epic of All TimeT1
  3. 3MahabharataT1
  4. 4The Mahabharata: A Modern Rendering (2 Vols.)T1

Sishupala's own mother once begged Krishna to spare her son whatever offences he might commit against him, and Krishna promised her he would tolerate a hundred of them before he ever took revenge. At Yudhishthira's Rajasuya sacrifice, when the assembled kings and sages agreed that Krishna deserved the first offering of honour, Sishupala alone refused to accept it, and leapt up to abuse both Krishna and the elder Bheeshma in front of everyone.

Rising to answer him, Krishna reminded the assembly that he had already spared Sishupala twice a hundred times for his mother's sake, and listed what his cousin had done since: setting fire to Dwaraka while Krishna was away, trying to stop his own father Vasudeva's horse sacrifice, attacking King Ugrasena at Raivataka, forcing himself on Yadava women on the road through Anarta, and violating Akrura's wife. Even as Krishna spoke, Sishupala went on mocking him, jeering that Rukmini had been his first and asking what harm Krishna could possibly do him now. Krishna answered by summoning the Sudarshana chakra into his hand and releasing it. It cut Sishupala's head from his shoulders before he could draw his sword, and his body fell like a cliff struck by lightning.

A brilliant light rose from the dead king's body, in front of every king assembled for the sacrifice, and passed into Krishna, paying homage to him before it disappeared inside him. Bheeshma had already told the court that this was always Sishupala's fate: to be killed by Krishna's own hand and, in dying that way, to be freed.

The Beheading of Shishupala, a MythSource painting of the scene

5 sources· checked 2026-09-02

  1. 1Mahabharata: The Greatest Spiritual Epic of All TimeT1
  2. 2The Mahabharata: A Modern Rendering (2 Vols.)T1
  3. 3Mahabharata: The Greatest Spiritual Epic of All TimeT1
  4. 4Mahabharata Vol. 2 (Penguin Translated Texts)T1
  5. 5MahabharataT1

Ashwatthama, cornered after the war and determined to wipe out the last of the Pandava line, aimed the Brahmastra at the unborn child in the womb of Uttara, Abhimanyu's widow. Krishna, riding beside Arjuna when the weapon was loosed, moved at once to protect her: one account had him expand his own power and enter her womb himself in a mystical form to shield the child directly, another had him open his own third eye and force the weapon to retract before it could do any harm. Either way, the Brahmastra was turned aside and rose harmlessly into the sky, watched by Uttara and the Pandava women in wonder.

Arjuna, freed to act once the danger had passed, fired a weapon of his own that bound Ashwatthama in cords, dragged him from his hiding place by the hair, and hauled him onto the chariot. He hesitated to kill his own teacher's son, but Krishna told him plainly that Ashwatthama had earned no mercy: a man who murdered sleeping boys forfeited any claim to the protection his birth as a brahmin would otherwise have given him.

When Uttara's time came, the child was born without breath, and the household's joy turned to wailing in the same moment. Krishna was sent for and found Uttara's newborn son lifeless in the birthing room. He took the small body in his hands, poured holy water over it, and said that if he himself had always served dharma, the child would live. At his words the baby's limbs twitched and his eyes opened. Krishna promised the child would go on to rule the Kuru line for sixty years, and Vyasa, standing by, named him there and then: Parikshit, the tested one.

Krishna Shields and Revives Parikshit, a MythSource painting of the scene

7 sources· checked 2026-09-02

  1. 1The Mahabharata: A Modern Rendering (2 Vols.)T1
  2. 2MahabharataT1
  3. 3Mahabharata: The Greatest Spiritual Epic of All TimeT1
  4. 4The Mahabharata: A Modern Rendering (2 Vols.)T1
  5. 5The Great Golden Sacrifice of the MahabharataT1
  6. 6The Mahabharata: A Modern Rendering (2 Vols.)T1
  7. 7The Puffin MahabharataT1

On the battlefield between the two armies, with Arjuna refusing to raise his bow against his own kinsmen, Krishna showed him his universal form. He had shown Arjuna a partial glimpse of it once before, at the Kuru court in Hastinapura, but this time the whole of it appeared: countless mouths and eyes, every god from Brahma to Shiva, every world and every being gathered into one body, as if a hundred thousand suns had risen together in the sky. Arjuna's hair stood on end. He bowed to the floor of his own chariot and begged Krishna to be merciful, no longer able to bear looking at what he saw.

Krishna answered him in words that became the Gita itself, sung there between the armies. He told Arjuna that time itself spoke through him, and that the warriors on both sides were already dead in him before a single arrow flew: Drona, Bheeshma, Jayadratha, Karna and the rest were doomed regardless, and Arjuna was only the instrument that would carry it out. He told Arjuna that he was Vishnu among the gods, the sun among the planets, Shiva among the Rudras, and that every splendid and beautiful thing in creation sprang from a mere spark of what he was, a fragment of himself enough to hold up the entire universe.

Arjuna wept, ashamed of every time he had spoken to Krishna carelessly, as a mere cousin or friend, not knowing who he truly was; he begged forgiveness and asked Krishna to bear with him as a father bears with a son. Krishna's teaching went on past the vision itself: he described an eternal being beyond even Brahma's vast day and night, one who was never born and never died, reached by devotion, and reached too, he said, by yogins of illumination at fixed times bound up with fire, light, day, and the sun's own six brightening months.

The Bhagavad Gita, a MythSource painting of the scene

7 sources· checked 2026-09-02

  1. 1Mahabharata: The Greatest Spiritual Epic of All TimeT1
  2. 2MahabharataT1
  3. 3The Mahabharata: A Modern Rendering (2 Vols.)T1
  4. 4MahabharataT1
  5. 5The Mahabharata: A Modern Rendering (2 Vols.)T1
  6. 6Mahabharata: The Greatest Spiritual Epic of All TimeT1
  7. 7The Mahabharata: A Modern Rendering (2 Vols.)T1

Some Yadava youths dressed Krishna's own son Samba as a pregnant woman to mock a group of visiting sages, asking whether she would bear a son or a daughter. The sages saw through the joke and cursed them for it. The curse left behind an iron club too dangerous to keep whole: it was ground down, but one arrowhead-shaped sliver resisted grinding, and Balarama had it thrown into the sea instead. A fish swallowed the sliver, fishermen netted the fish and discarded the iron when they gutted it, and an old hunter named Jara found it lying on the shore and fixed it to the head of his hunting arrow. Krishna, reading the omens gathering over Dwaraka, told his people that thirty-six years had passed since the war at Kurukshetra and that the time had come for Gandhari's curse on their whole line to fall due.

At Prabhasa on the coast, the assembled Yadavas spent two days in sacrifice before the wine took hold of them. Satyaki, still angry that Kritavarma had once helped kill the Pandavas' sons while they slept, taunted him for it in front of everyone, and Kritavarma answered back. The insult spread into a full brawl, and when their proper weapons ran out, the Yadavas snatched up handfuls of strange reeds growing at the water's edge, grown from the same cursed iron that Balarama had cast into the sea. Even a scratch from one of the reeds was enough to kill. Father turned on son and brother on brother until, within the hour, almost the whole assembly lay dead.

Krishna saw his own son Pradyumna killed in the chaos, and when three of his other sons turned on him along with his cousin Akrura, he took up the reeds himself and killed the men responsible, grieving even as he fought. Only Krishna, Balarama, and the charioteer Daruka survived the slaughter. Afterwards Krishna withdrew alone into the forest, sat beneath a tree, and thought back over his own life: growing up at Gokul with Yasoda, his love for the milkmaid Radha, the day he had killed Kamsa at Mathura. The hunter Jara, out looking for deer, saw Krishna's blood-reddened feet through the trees, mistook them for game, and loosed the cursed arrow. It struck the one place Krishna could be wounded, the sole of his foot, the single spot a sage named Durvasa had once left open when he blessed the rest of Krishna's body against every weapon. Jara ran to him, recognised who he had shot, and fell at his feet in horror.

Arjuna arrived, performed the last rites for Vasudeva and the dead, and led the surviving women, elders, and priests out of Dwaraka with what gold they could carry. The sea rose the moment the last chariot passed through the gates, and the city broke apart and sank beneath the waves, Krishna's own palace going under last of all. On the road away, bandits attacked the column; Arjuna found his once-inexhaustible quivers empty and could do nothing to stop them taking the gold and many of the Yadava women. He led what remained of the people to Indraprastha, where Vajra was crowned king in their place. Krishna's wives Rukmini, Saibya, Hymavati, and Jambavati ended their own lives on funeral pyres, while Satyabhama and others withdrew to the forest and, after years of austerity in the mountains, were said to reach final liberation.

The End of Dvaraka and Krishna's Death, a MythSource painting of the scene

12 sources· checked 2026-09-02

  1. 1The Mahabharata: A Modern Rendering (2 Vols.)T1
  2. 2The Mahabharata: A Modern Rendering (2 Vols.)T1
  3. 3Mahabharata: The Greatest Spiritual Epic of All TimeT1
  4. 4The Mahabharata: A Modern Rendering (2 Vols.)T1
  5. 5The Mahabharata: A Modern Rendering (2 Vols.)T1
  6. 6The Mahabharata: A Modern Rendering (2 Vols.)T1
  7. 7The Puffin MahabharataT1
  8. 8The Mahabharata: A Modern Rendering (2 Vols.)T1
  9. 9Mahabharata: The Greatest Spiritual Epic of All TimeT1
  10. 10MahabharataT1
  11. 11Mahabharata: The Greatest Spiritual Epic of All TimeT1
  12. 12The Mahabharata: A Modern Rendering (2 Vols.)T1

Works that draw on more of the mythology than any single story: full retellings of the saga, and worlds built out of the material.

Dance of Govinda

Book

Krishna's Vrindavan-period youth is carried into a full novel-length fantasy retelling rather than one bounded episode.

Dwapar

Book

Krishna's era is retold as a poet's own interpretation rather than a translation of one bounded episode.

Dwarkadheesh - Bhagwaan Shree Krishn

Television

Krishna's post-Kamsa reign runs across many threads rather than one myth: his household, his wars, and his eventual marriage to Rukmini all appear in parallel.

Flute of Vrindavan

Book

Krishna's Vrindavan-period youth is carried into a full novel-length fantasy retelling rather than one bounded episode.

Fortress of Dwarka

Book

Krishna's Dwarka-era story is carried into a full novel-length fantasy retelling rather than one bounded episode.

Krishna

Television

Krishna's life from birth through his rise as prince runs across several of his own myths in sequence - the butter-thief years, Putana, Kaliya, Kamsa's death, and the Rukmini marriage all appear as episodes of one continuous account.

Kurukshetra (2019 film)

Film

Keeps Krishna within the ensemble cast of the Kurukshetra War epic rather than retelling one of his own single stories.

Lord of Mathura

Book

Keeps Krishna's life story serialised across a multi-volume novel sequence rather than one book retelling one myth.

Lord of Vaikunta

Book

Keeps Krishna's life story serialised across a multi-volume novel sequence rather than one book retelling one myth.

Mahabharat (1965 film)

Film

Keeps Krishna's aid to Draupadi and his revealing of his divine form to Arjuna, among other episodes spread across the full epic.

Mahabharat (1988 TV series)

Television

Keeps Krishna's arc from birth and escape from Kamsa through subduing Kaliya, raising Govardhana Hill, his ties to the Pandavas, Radha and Rukmini, and teaching the Bhagavad Gita and showing his universal form to Arjuna.

OMG: Oh My God! (2012)

Film

Keeps Krishna's flute, his role as a divine teacher who corrects human error, and his claim that the divine lives within every creature rather than in temples or icons.

Priyapravash

Book

Keeps Krishna's departure from Vrindavan for Mathura after Akrura brings Kansa's summons, and the grief of the gopis and Radha left behind, consoled afterwards when Krishna sends Uddhav back to them.

RadhaKrishn (2018)

Television

Keeps Krishna's life as one continuous arc: birth and youth, Kansa's defeat, the marriages to Rukmini, Satyabhama and Jambavati, the Mahabharata war and the Gita, ending with Dvaraka's drowning and Krishna's death by Jara's arrow.

The Mahabharata (1985 stage production)

Other

Keeps the full arc across three parts, the dice game, the forest exile and the war, with Krishna present throughout as counsellor to both warring families.

The Mahabharata (1989 film)

Film

Keeps the same full three-part arc as the stage production, with Krishna appearing as the god who advises both sides to abandon their bloody struggle for power.

05Different accounts
›Krishna Dharma's Mahabharata: The Greatest Spiritual Epic of All Time calls this a kidnapping, while the Penguin Mahabharata and The Mahabharata: A Modern Rendering both frame it as something Rukmini arranged herself, sending Krishna word before the wedding because she loved him and not Sishupala.

    The accounts that differ: Mahabharata: The Greatest Spiritual Epic of All Time, Chapter Seventeen.  The Rajasuya Sacrifice; Mahabharata, Part Of The Way With The Pandavas And Bade Them Farewell.; The Mahabharata: A Modern Rendering (2 Vols.)

    From “The Marriage of Rukmini”

    ›Krishna Dharma's Mahabharata: The Greatest Spiritual Epic of All Time has Krishna enter Uttara's womb himself in a mystical form to shield the child. The Puffin Mahabharata instead has him open his third eye and force Ashwatthama's weapon to retract before it ever reaches her.

      The accounts that differ: Mahabharata: The Greatest Spiritual Epic of All Time, Chapter Twenty-nine.  Ashvatthama Punished; The Puffin Mahabharata

      From “Krishna Shields and Revives Parikshit”