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The Defeat of Many by One In The Moor's Last Sigh, Salman Rushdie uses the complicated and shifting character of the Moor to represent a complex and changing image of India. By making the eclectic loved ones of the Da-Gama Zogoiby family the fundamental motif from the first two parts of the book, Rushdie portrays India as a culturally and religiously pluralistic society. This pluralistic society has been layered by violence caused by the corruption of multiplicity by several characters and also the threat of Hindu fundamentalism. Since pluralism is defeated by fascism in Part Three of this publication, the character of the violence changes radically and is symbolized by the Moor's significant character change: "The Moor whose tragedy-the catastrophe of multiplicity ruined by singularity, the defeat of Many by One-had become the sequences united principle" (Rushdie 408). The defeat of pluralism is not only the uniting principle in Aurora's sequence of paintings, but also in Rushdie's The Moor's Last Sigh. Rushdie's vision of India is essentially the struggle between multiplicity and singularity and the consequential violence that has plagued India's history. At the first two parts of the book, Rushdie portrays the positive facets of pluralism through the narrative of this Da-Gama Zogoiby family. The Moor's grandfather, Camoens refers to an Excellent pluralistic world: A free nation Belle, above faith because royal, above course because socialist, above caste because enlightened, above hatred since loving, above vengeance because forgiving, above tribe because unifying, above terminology because many tongued, above colour because multi-coloured, over poverty because.