Samadhi

Samādhi (Sanskrit: समाधि, Hindi pronunciation: [səˈmaːd̪ʱi]), also called samāpatti, in Hinduism, Buddhism, Jainism, Sikhism and yogic schools refers to a state of meditative consciousness. It is a meditative absorption or trance, attained by the practice of dhyāna. In samādhi the mind becomes still. It is a state of being totally aware of the present moment; a one-pointedness of mind. When someone dies in India, it is not uncommon to say, that person has gone to 'Samādhi'. The tombstone area is also referred to as a place of 'samādhi'.

In Buddhism, it is the last of the eight elements of the Noble Eightfold Path. In the Ashtanga Yoga tradition, it is the eighth and final limb identified in the Yoga Sūtras of Patañjali.

Definitions

Samadhi (disambiguation)

Samadhi is an Indian religious term, commonly translated as meditation or contemplation.

Samadhi may also refer to:

Names

Film and music

Samadhi (shrine)

Samādhi (Hindi: समाधि) or samadhi mandir is the Hindi name for a temple commemorating the dead (similar to a tomb or mausoleum), which may or may not contain the body of the deceased. Samadhi sites are often built in this way to honor people regarded as saints or gurus in Hindu religious traditions, wherein such souls are said to have passed into mahāsamādhi, or were already in samādhi (non-dualistic state of consciousness) at the time of death.

The tradition of India is cremation for most Hindu people at the time of death, while samadhi is generally reserved for very advanced souls, such as yogis and saints, who have already been "purified by the fire of yoga" or who are believed to have been in the state of samadhi at time of death.

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Catastrophe

Catastrophe or catastrophic comes from the Greek κατά (kata) = down; στροφή (strophē) = turning. It may refer to:

A general or specific event

Catastrophe (drama)

In drama, particularly the tragedies of classical antiquity, the catastrophe is the final resolution in a poem or narrative plot, which unravels the intrigue and brings the piece to a close. In comedies, this may be a marriage between main characters; in tragedies, it may be the death of one or more main characters. It is the final part of a play, following the protasis, epitasis, and catastasis.

The catastrophe is either simple or complex, for which also the fable and action are denominated. In a simple catastrophe, there is no change in the state of the main characters, nor any discovery or unravelling; the plot being only a mere passage out of agitation, to quiet and repose. This catastrophe is rather accommodated to the nature of the epic poem, than of the tragedy.

In a complex catastrophe, the main character undergoes a change of fortune, sometimes by means of a discovery, and sometimes without. The qualifications of this change are that it be probable and necessary: in order to be probable, it must be the natural result or effect of the foregoing actions, i.e. it must spring from the subject itself, or take its rise from the incidents, and not be introduced merely to serve a turn.

Catastrophe (play)

Catastrophe is a short play by Samuel Beckett, written in French in 1982 at the invitation of A.I.D.A. (Association Internationale de Défense des Artistes) and “[f]irst produced in the Avignon Festival (21 July 1982) … Beckett considered it ‘massacred.’” It is one of his few plays to deal with a political theme and, arguably, holds the title of Beckett's most optimistic work. It was dedicated to then imprisoned Czech reformer and playwright, Václav Havel.

Synopsis

An autocratic Director and his female Assistant put the “‘[f]inal touches to the last scene’ of some kind of dramatic presentation”, which consists entirely of a man (The Protagonist) standing still onstage.

The Assistant has arranged the man as she has seen fit to, atop a “black block 18” high”, draped in a “black dressing gown [down] to [his] ankles” and – peculiarly – sporting a “black wide-brimmed hat.” The bulk of the drama consists of the Director wresting control from her and moulding the man on stage to suit his personal vision. “The Director call for light, both for his cigar which is constantly going out and for the spectacle of the Protagonist on stage.”