Keep your mouth shut, you drivelling little morsel, will you?
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The return verses of the Duke are little better than drivelling.
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The elder is ever drivelling, the younger never has any salival discharge.
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His enthusiasm for nature was but the drivelling sensibility of the drunkard.
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It is a bit weird that the judges are constantly drivelling about innovation and blah.
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Here am I drivelling on just as if I knew what I was talking about.
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I was in drivelling dotage, to think that she would be aught else than the rest of them.
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They descend on my memory somewhat here though I do dimly remember us drivelling on about many other subjects.
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This drivelling love is like a great natural, that runs lolling up and down to hide his bauble in a hole.
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So often one hears a fine speech well delivered, followed by an inane expression of thanks for attention or a drivelling apology for lengthiness.
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He seems to cast his male characters as spineless imbeciles, and spend the rest of the novel drivelling an apology on behalf of the whole of his gender.
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A DRIVELLING rascal, a bunch of jaded arty types and a pair of men afflicted with incurable illnesses: they may seem an implausible cast for a cinema revolution.
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" John Gibson Lockhart writing in Blackwood's Magazine, described Endymion as "imperturbable drivelling idiocy". With biting sarcasm, Lockhart advised, "It is a better and a wiser thing to be a starved apothecary than a starved poet; so back to the shop Mr John, back to plasters, pills, and ointment boxes".Extracts from Blackwood's Edinburgh Magazine, 3 (1818) p519-24". Nineteenth Century Literary Manuscripts, Part 4.
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Nemorino and the men ask the doctor for his help in winning back their sweethearts, since all the girls in town are attracted to the soldiers. Dulcamara sells his far-famed Elixir, titled "Madame Rachel's Beautiful For Ever", and gives the men instructions on its application. When everyone has gone, Beppo reveals that he has a secret and is not the drivelling idiot he pretends to be. Later, Nemorino is caught singing by Adina and Belcore, who continue to chastise him.
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In the spring of 1945, it became obvious that Communist and pro-Soviet government of Poland would not refrain from using terror as a method of fighting the so-called Cursed soldiers. Apart from mass arrests and repressions, a widespread propaganda operation was carried out, in which soldiers of the former Home Army were presented as "imperialists" and "drivelling midgets of reaction". With the help from Soviet forces, thousands of World War II heroes ended up in prisons across Poland. Northern Lesser Poland, with the cities of Kielce and Radom, was one of main centers of anticommunist resistance.
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Initially, the critical assessment of The Man Who Laughs was mediocre, with some critics disliking the morbidity of the subject matter and others complaining that the Germanic looking sets did not evoke 17th- century England. Paul Rotha was particularly critical. In his 1930 history of film, The Film Till Now, he called The Man Who Laughs a "travesty of cinematic methods", and declared that in directing it, Leni "became slack, drivelling, slovenly, and lost all sense of decoration, cinema, and artistry". The New York Times gave the film a slightly positive review, calling it "gruesome but interesting, and one of the few samples of pictorial work in which there is no handsome leading man".
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Edited by Margaret Drabble, Oxford University Press, 2000 p.616 Of his more accessible poems, most were written in the first decade of the fifteenth century in a Chaucerian vein: The Complaint of the Black Knight (originally called A Complaynt of a Loveres Lyfe and modelled on Chaucer's The Book of the Duchess); The Temple of Glas (indebted to The House of Fame); The Floure of Curtesy (like the Parlement of Foules, a Valentine's Day Poem); and the allegorical Reason and Sensuality.The Oxford Companion to English Literature, 6th Edition. Edited by Margaret Drabble, Oxford University Press, 2000 p.617 His short poems tend to be the best; as he grew older his poems grew progressively longer, and it is regarding Lydgate's later poetry that Joseph Ritson's harsh characterization of him is based: 'A voluminous, prosaick and drivelling monk'. Similarly, one twentieth-century historian has described Lydgate's verse as "banal".Wolffe, B. P. (2001).
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