The word "gibbering" is often employed by authors to evoke a sense of frantic, disjointed energy or madness, whether applied to a person, creature, or even abstract forces. In John Buchan’s work, it is used to suggest a sudden, almost inexplicable outburst of disintegration from a character [1]. Thomas Carlyle uses it to depict chaotic historical specters, suggesting that this mad babble is an intrinsic part of the collapse of order [2, 3]. In Edgar Allan Poe’s narrative, the term becomes a chilling, almost foreboding auditory cue that accompanies supernatural stimulation [4, 5]. Meanwhile, H. G. Wells and J. M. Barrie integrate the term to provide a touch of wild animalistic behavior or to underscore the terror lurking in the unfamiliar, thereby blurring the line between humor and horror [6, 7, 8]. Even James Joyce employs "gibbering" to blur boundaries between the human and the animalistic, encapsulating the existential chaos underlying modern experience [9, 10]. Overall, the term functions as a powerful linguistic tool that unifies disparate literary contexts with its vivid connotations of frantic, unstructured communication.