Old Mortality, the best of Scott’s historical novels (1716). Morton is the best of his young heroes, and serves as an excellent foil to the fanatical and gloomy Burley. The two classes of actors, viz., the brave and dissolute cavaliers, and the resolute, oppressed covenanters, are drawn in bold relief. The most striking incidents are the terrible encounter with Burley in his rocky fastness; the dejection and anxiety of Morton on his return from Holland; and the rural comfort of Cuddie Headrigg’s cottage on the banks of the Clyde, with its thin blue smoke among the trees, “showing that the evening meal was being made ready.”
Old Mortality always appeared to me the “Marmion” of Scott’s novels.—Chambers, English Literature, ii. 587.
Old Mortality, an itinerant antiquary, whose craze is to clean the moss from gravestones, and keep their letters and effigies in good condition.—Sir W. Scott, Old Mortality (time, Charles II.).
*** The prototype of “Old Mortality” was Robert Patterson.
Old Noll, Oliver Cromwell (1590-1658).
Old Noll’s Fiddler, Sir Roger Lestrange, who played the base-viol at the musical parties held at John Hingston’s house, where Oliver Cromwell was a constant guest.
Old Rowley, Charles II., so called from his favorite race-horse (1630, 1660-1685).
Old Stone. Henry Stone, statuary and painter (died 1653).
Oldboy (Colonel), a manly retired officer, fond of his glass, and not averse to a little spice of the Lothario spirit.
Lady Mary Oldboy, daughter of Lord Jessamy, and wife of the colonel. A sickly nonentity, “ever complaining, ever having something the matter with her head, back, or legs.” Afraid of the slightest breath of wind, jarred by a loud voice, and incapable of the least exertion.