But without further tyranny over my readers, or display of the extent of my own reading, I shall content myself with borrowing a single incident from the memorable hunting at Lude, commemorated in the ingenious Mr. Gunn’s essay on the Caledonian Harp, and so proceed in my story with all the brevity that my natural style of composition, partaking of what scholars call the periphrastic and ambagitory, and the vulgar the circumbendibus, will permit me.
1826 Sir Walter Scott, Woodstock or the cavalier: a tale of the year sixteen hundred and fifty-one, Archibald Constable and Co., p75
He read, long and attentively, various tedious and embarassed letters, in which the writers, placing before him the glory of God, and the freedom and liberties of England, as their supreme ends, could not, by all the ambigatory expressions they made use of, prevent the shrewd eye of Markham Everard from seeing, that self-interest and views of ambitions were the principal moving-springs at the bottom of their plots.
1841 "Useless Machinery of the Registration Bill," The Lancet, Volume 1, November 14, p268
Comment on the interpretation clause would be superfluous; its ambigatory phraseology, and all the difficulties of the subsequent registration, are the necessary result of the attempt to register the quacks with the regular practitioners of the country [...]
“Not to shroud my meaning beneath ambagitory phrases or circumlocutory artifices, but to be plain with you, my name, sir, is Marmaduke Grimshaw [...]”
1898 "Recent American Novels," The North American review, Volume 21, p85
The style of the work is excessively bad. It is a labored parody of Scott’s worst manner; we mean that, which he himself describes as ‘the ambigatory,’ or ‘circumbendibus.’ The author of the Refugee carries this to a ridiculous extreme.
1979 Alastair Fowler, "Genre and the Literary Canon," New Literary History, Vol. 11, No. 1, Anniversary Issue: II (Autumn, 1979), pp. 97-119
He multiplied allusions to serious romance predecessors, introduced romantic poems and songs both as quotations and as intrafictional events, explicitly followed an "ambagitory" narrative method, and continually emphasized the romantic character of landscapes [...]