In the first stages of the first meditation (pathamam jhanam) the mind is concentrated on the object in the way of understanding it with its form and name and of comprehending it with its diverse relations.  This state of concentration is called vitakka (discursive meditation).  The next stage of the first meditation is that in which the mind does not move in the object in relational terms but becomes fixed and settled in it and penetrates into it without any quivering.  This state is called vicara (steadily moving).  The first stage vitakka has been compared in Buddhagho@sa’s Visuddhimagga to the flying of a kite with its wings flapping, whereas the second stage is compared to its flying in a sweep without the least quiver of its wings.  These two stages are associated with a buoyant exaltation (piti) and a steady inward bliss called sukha [Footnote ref 1] instilling the mind.  The formation of this first jhana roots out five ties of avijja, kamacchando (dallying with desires), vyapado (hatred), thinamiddham (sloth and torpor), uddhaccakukkuccam (pride and restlessness), and vicikiccha (doubt).  The five elements of which this jhana is constituted are vitakka, vicara, plti, sukham and ekaggata (one pointedness).

When the sage masters the first jhana he finds it defective and wants to enter into the second meditation (dutiyam jhanam), where there is neither any vitakka nor vicara of the first jhana, but the mind is in one unruffled state (ekodibhavam).  It is a much steadier state and does not possess the movement which characterized the vitakka and the vicara stages of the first jhana and is therefore a very placid state (vitakka-vicarakkhobha-virahe@na ativiya acalata suppasannata ca).  It is however associated with piti, sukha and ekaggata as the first jhana was.

When the second jhana is mastered the sage becomes disinclined towards the enjoyment of the piti of that stage and becomes indifferent to them (upekkhako).  A sage in this stage sees the objects but is neither pleased nor displeased.  At this stage all the asavas of the sage become loosened (khi@nasava).  The enjoyment of sukha however still remains in the stage and the

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[Footnote 1:  Where there is piti there is sukha, but where there is sukha there may not necessarily be piti. Visuddhimagga, p. 145.]

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mind if not properly and carefully watched would like sometimes to turn back to the enjoyment of piti again.  The two characteristics of this jhana are sukha and ekaggata.  It should however be noted that though there is the feeling of highest sukha here, the mind is not only not attached to it but is indifferent to it (atimadhhurasukhe sukhaparamippatte pi tatiyajjhane upekkhako, na tattha sukhabhisangena aka@d@dhiyati) [Footnote ref 1].  The earth ball (pa@thavi) is however still the object of the jhana.