Repeat

Repeat: an analysis

 (A key assumption to keep in mind here: the language most conducive to simple bodily pleasure and ease is none at all.)

“R” the fulcrum sound, is followed, pronunciation-wise, most often by a long “e,” to compose the standard prefix, “re.” Notice that “re,” in this prefix and elsewhere, where these same letters form the beginning of a word, isn’t always pronounced with the long e. In words where they aren’t considered a prefix at all (e.g., reckon, rebel), the e is usually short. And even in some with obvious prefixes, re-peat included, the e can be pronounced “short,” which provides an interesting sidelight. Generally, though, the more “downward” and “outward” the vowel sound following the “r,” the more effort involved and connoted.

The “long” re, then, presents itself, on a body level, as effort with a downward thrust—the image of one’s sticking a shovel in the ground would fit with this.

The following “p” sound, however, pulling the breath right back up and into the lips, serves to convey an instant rebound effect (hence the word “reap,” the silent a here providing yet another interesting sidelight).

After the “p,” the second long e functions in a way that epitomizes expressive form—the long e’s repeating in “repeat” to connect us on the level of bodily sensation with what we are communicating cognitively.

The silent “a” that follows functions, much like the one above in “reap,” through ear-eye incongruity, to add dimensionality, suggesting perhaps more if not some countless number of repetitions to come.

Finally, the “t” provides a firm full stop, yet one that bounces the breath back in, indicating where responsibility for doing the repetition as instructed lies. If the instructor in question wishes to lead more obviously by example, he or she may add the often-used phrase, “repeat after me,” though, from a purely bioenergetic/poetic standpoint, this is a redundancy.