Sprigg The Shrewd

Sprigg Nodolli, also known as "Sprigg The Shrewd, Sprigg The Slippery, Sprigg The Slick, Etc" is a significant figure in popular Gnomish folklore dating from the mid to late Age of Demigods and onward.

One of many trickster warrior like figured in folklore and history but distinctive in his strong following among the Free Gnomes native to the Scar region where he is especially honored by the large clan of Free Gnomes who claim him as their founder and his unorthodox liturgical place as a Paragon in Gnomish Alexandrian spiritual thought.

Sprigg Nodolli is according to lore the son of a mortal Gnomish bandit leader named Gretnannah Nurue and her lover Alandradar of the Demi-Pantheon, who depending on what version of the story is being told is disguised as either her hostage or her manservant or a brown talking goose..

His adventures generally act as fables that speak to the Gnomish traditional values of self-reliance,unity, subtlety, intelligence, using stealth and trickery to defeat or stymie a physically superior foe. Humor as a sustaining force in times of adversity and mockery of a foe as a weapon, Shunning title, vanity and pretense…..

However many tales of Sprigg’s adventures can also be extremely bawdy, lewd and pronouncedly violent, which is not surprising in that while today “outsides of Hakan” the figure’s exploits are primarily told as adventure stories to rouse children, earlier versions of these tales are far less sanitized than later translations and were originally meant to amuse while teaching harsh lessons about life in the Scar and by extension the world.

These tales fall generally into four main categories.

1.The oral stories and traditions of the Free Gnomes of the Scar. First recorded references circa 926 bl

2.The works of celebrated Dwarven author Kraese Korvel. Circa -302FL

3.The modern Hakani reclamation theater movement-1470 Fl

4.Clan Spriggan claims and expeditions. See Spriggan

Differences between versions

Early Free Gnome stories from the Scar.

In these stories, Sprigg is usually cast as the wandering freebooter seeking his fortune ever eager to see what’s just around the next bend, seeking mirth, meat, mead and a lover’s company under warm hides. While he at times serves a high cause or his actions result in a greater good, usually that is in spite of his efforts or besides his original intentions.

In these tales Sprigg is pitted against the Servitor tribes, dangerous beasts, bloodthirsty bandits and river pirates and a wide variety of myriad threats from giant toads and/or toad-like beings of a demonic nature.. The hyperfixation of threats from toads of unusual size or supernaturally bewitched toad-like creatures is a common thread found in multiple stories from this period.

Sprigg, while crafty and cunning, is a sturdy warrior, often using what is around him to his advantage and ruthlessly so as his enemies are given no quarter. In these stories his magical Pickaxe Ir Kaebonu is simply a finely crafted weapon with the enchantment to never break. This as well as his growing list of purported magical abilities are modest and far between. Instead his skill at arms and crafty tactics often are what win the day.

In these stories we also see the first appearances of recurring figures like Bella Basalta a Gnomish woman of vague high station and frequent early love interest as well as the Duergar Uthur Urdunnir Sprigg’s most consistent antagonist however in these early stories Urdunnir is less of the blood enemy as he is later presented in written works.

More so early presentations of Uthur are more of that of a rival and often a foil. The pair are often erstwhile or reluctant allies or competitors for the same prize just as often as at odds in these iterations.

The Works of Kraese Korvel

Most non Hakani, especially Non-Dwarves who know anything of the tales of Sprigg Nodolli past having heard the name in passing, know so from the prolific works of famed Dwarves author and scholar Kraese Korvel who launched and produced the largest body of scholastic work into researching and recording as much of folklore and documentation into the historical evidence of the existence of Sprigg Nodolli even enacted. This included a massive translation of the various oral stories combined with a detailed historical analysis into a unified collection of stories published by Korvel and became moderately popular children’s literature among the educated in Gildenhome.

In these stories Sprigg is often more of a comic figure not intentionally seeking out adventure and certainly not heroism. Most early stories often began with Spigg seeking to avoid a day's labor or some manual chore and engaging in some sort of increasingly elaborate scheme that was not only rarely successful but in the end more labor than simply doing the work originally required. In these tales Spirgg’s wit and humor are emphasized and while he is still adept at the art of fighting he tends to rely even more on trickery, the low intelligence of his servitor enemies and criminal foes and the increasingly powerful Ir Kaebonu artifact, which now can not only supernaturally sharp and unbreakable but can also, sense direction underground and detect gems and precious metals but also can summon and control badgers and burrowing animals and bind them to his will.

He also has a larger cast of recurring allies, love interests and foes. While Bella Basalta fades as a love interest as now in the stories Sprigg has many paramores.

It is very notable that Uthur Urdunnir by this time has emerged into a pure villain and unredeemable antagonist, who frequently is foiled in his schemes via his own greed and Sprigg’s superior wit.

This plays into the modern popular notion promoted by the mercenary Gnomes of Clan Spriggan as self identified blood enemies of the Duergar race. It is one of the few points of overlap they have with the works of Korvel which on the whole they find exploitative, patronizing and offensive.

Korvel had by the time of his death amassed a large trove of alleged artifacts related to or attributed to the historical Sprigg Nodolli. However few Dwarven historical scholars give credence to these findings instead labeling Sprigg Nodolli a being of pure folklore combined with several different mythological and historical figures. Despite this Korvel’s work of researching and recording and translations of these myths was lauded in Dwarven literary academic circles for the comprehensive view of Gnomish culture it illuminates.

The modern Hakani reclamation theater movement

Following the end of the Gnomish Civil War and the Gilden-Gnomish War in the early 1400’s the urban center of Hakan City received an influx of Free Gnome refugees and expatriots from the Scar region many of whom remained and did not return to the Scar as the Spriggans and others had done.

These new arrivals brought their customs, music, songs and traditions with them bringing to the more culturally assimilated Hakani Gnomes “new” stories they had not known of about their own national hero.

As these City Gnomes had been more exposed to the Korvel narrative all their lives as well as in print, this was all very fresh and new to them and in the high spirits after the war sparked a new cultural boom in interest in the folklore and stories of Sprigg Nodolli and a call to reclaim the hero from his own vassalage under the works of Korvel.

As such in the decades since the Gnomish Civil War and the Gilden-Gnomish War there have been numerous theatrical productions seeking to perform stories about the life and exploits of Sprigg Nodolli placing a premium on presentations from an authentic Gnomish cultural lens.

This movement has received significant push back from Dwarven patrons who condemn the movement as politically motivated revisionism.

Clan Spriggan claims and expeditions and Urban Spriggan subculture. See Spriggan