In fact, as the novel rumbles along, it gathers a cumulative momentum, its density and garrulity impressing upon the reader a sense of the arduousness of Mason and Dixon's journey and the long, aching curve of their lives.
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Henry's silence was probably meant as a quickener of the beadsman's garrulity.
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Thomson rejoined in "A check given to the insolent garrulity of Henry Stubbe etc." (London, 1671). Letters were exchanged and published by Thomson in the following year.
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He had periods when he could not play. Some people considered that his style was different after his breakdown: Larkin characterized it as "a hollow feathery tone framing phrases of an almost Chinese introspection with a tendency to inconclusive garrulity that would have been unheard of in the days when Pee Wee could pack more into a middle eight than any other thirties pick-up player".Larkin, All What Jazz, p. 114 (June 10, 1964).
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Allmusic reviewer William Ruhlmann stated "this record, which, naturally, emphasizes his more blues-oriented guitar playing, although without sacrificing his country boy identity". The Penguin Guide to Blues Recordings said "These albums have a quality rarely encountered in records of their type - personality. much of that is down to the garrulity of Bishop's singing and his quirky angular guitar solos ... If the albums have fault , it's Bishop's inclination to indulge in his own form of blues-rap ... it's pleasant enough but it's an easy way out".
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At times his immense self-confidence > produces garrulity and sweeping, dismissive prescriptions. The most > attractive poems show enormous powers of invention, lively play with > language, and command of rhythm and idiom. In these poems Murray invariably > explores social questions through a celebration of common objects from the > natural world, as in "The Broad Bean Sermon", or machines, as in "Machine > Portraits with Pendant Spaceman". Always concerned with a "common reader", > Murray's later poetry (for example, Dog Fox Field, 1990, Translations from > the Natural World, 1992) recovers "populist" conventions of newspaper verse, > singsong rhyme, and doggerel.
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Benjamin W. Wells reviewed the book so: > Keen insight, fresh humor and instinct for realistic narration are its > outstanding merits; its faults are lack of proportion, occasional garrulity > and obtruded moralizing, but most of all the doubt that it leaves in the > reader whether the Heinrich who had shown such persistent lack of character, > especially in his relations with his mother, would so quickly be capable of > discovering, rather than recovering, a normal balance of mind. Jacob Wittmer Hartmann characterizes the 2nd edition of 1879 and a “rounded and satisfying artistic product.” The New International Encyclopædia praises the 2nd edition as a significant improvement over the first.
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James Emil Hubert Zimmermann (1886–1917) was a British tennis player in the years before World War I. His father was German, and Zimmerman was embarrassed by his German name, so he abbreviated his surname to Mann. He reached the quarterfinals of the Wimbledon men's singles in 1912 where he lost in straight sets to Alfred Beamish. He lost in the second round at Wimbledon in 1913 to Percival Davson. According to his obituary in the Sydney newspaper Referee on 17 October 1917, Zimmermann was "always popular with the crowd, for his garrulity on court, though sometimes disconcerting to his opponents, he had a vein of humour and irresponsibility".
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Belinsky commented that the work had "no sense, no content and no thoughts", and that the novel was boring due to the protagonist's garrulity, or tendency towards verbal diarrhoea. He and other critics stated that the idea for The Double was brilliant, but that its external form was misconceived and full of multi-clause sentences. The short stories Dostoyevsky wrote during the period before his imprisonment explore similar themes to Poor Folk and The Double. White Nights "features rich nature and music imagery, gentle irony, usually directed at the first-person narrator himself, and a warm pathos that is always ready to turn into self-parody".
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Australian poet John Tranter in his 1983 review of The Younger Australian Poets (edited by Robert Gray and Geoffrey Lehmann) wrote of Page: > He is not a self-promoter, and his modest output has been inadequately > represented in recent anthologies, as the editors of this one quite properly > point out. His poetry has been influenced loosely by the American William > Carlos Williams. In general, the spare precision of Williams' short lines is > a good preventive against galloping garrulity, and in Page's hands it > delivers a dry and particularly Australian accent and a thoughtful movement > from phrase to phrase. The short line, as a model, can be overdone: 'of 3 > a.
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Ms. Farrow is so perfectly cast as Rachel that the character seems a distillation of nearly every role she has played since she was a teen-ager in Peyton Place. With her peaches-and-cream complexion and slightly whiny voice, Ms. Farrow has always epitomized a precocious, overgrown princess whose garrulity inspires protectiveness tinged with irritation. In Reckless, projecting a mixture of the sweetly forlorn and the intractably childish, she is nothing less than American innocence incarnate demanding to be snapped out of it."New York Times review Roger Ebert of the Chicago Sun-Times said, "It's one of those films where you think it's only a dream, and then when everyone wakes up, it's worse . . .
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Arthur Murphy, fellow Johnson biographer and reviewer of Hawkins's Life The Monthly Review, the Critical Review, the English Review, and the European Magazine contained reviews that, in the words of Bertram Davis, characterised the biography as "a malevolent and spiteful account of Johnson's life, grossly inaccurate, and rendered utterly ridiculous by its pompous legalisms and its digressions on every conceivable subject. The book, if they were to be believed, was less a biography than a polemic, less a work of art than a collection of senile gossip." In particular, the Critical Review said, "we often lose Dr. Johnson... The knight sinks under the weight of his subject, and is glad to escape to scenes more congenial to his disposition, and more suitable to his talents, the garrulity of a literary old man."Critical Review June 1787 p.
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