Many of the most cherished narratives about Mirabai revolve around her unwavering conviction that Krishna was her true and eternal husband. From childhood, she is said to have taken literally the assurance that Krishna was her spouse, and she carried this inner marriage into her adult life, even after being wed into the royal house of Mewar. Her public singing and dancing before Krishna’s image in the palace temple, losing herself in ecstatic devotion, scandalized the royal court, which expected a Rajput princess to embody strict decorum. This tension between worldly expectations and absolute surrender to the divine forms the backdrop for many of the legends that surround her life. Several stories describe repeated attempts by her in‑laws to break or destroy this devotion, only to have those attempts transformed by grace. In one well‑known legend, a cup of poison is sent to her under the guise of sacred prasad or milk; Mirabai drinks it while absorbed in Krishna’s name, and the poison becomes harmless, like nectar. Another tale recounts a basket sent to her that is said to contain a garland but in fact holds a venomous cobra; when she opens it in a state of devotion, the snake is found to have become a garland or a beautiful offering. These narratives portray a bhakta whose trust in Krishna is so complete that even instruments of death are transmuted into symbols of blessing. Other episodes highlight how her devotion challenged social and religious hierarchies. In one story, a renowned sadhu or ascetic refuses to meet her because she is a woman, or bars her from entering a temple at night. Mirabai responds that in the presence of Krishna there is only one true “Man,” and that all others, including herself and the sadhu, are like women—souls before the divine. Humbled by this insight, the ascetic relents and grants her audience. Such stories present Mirabai not merely as an emotional devotee, but as someone whose spiritual vision cuts through conventional distinctions of gender and status. The culmination of her legend is found in accounts of her final union with Krishna at Dwarka. There, she is described as spending her days singing before the image of Krishna in the temple, completely absorbed in bhakti. When relatives or royal envoys come to reclaim her, she enters the sanctum to offer her last song. According to the tradition, her body then merges into