Читать книгу Woodsman - Ben Law - Страница 10

I have been watching the dead top of a large chestnut tree. It has bothered me since I first arrived here as it looks unhealthy and stands out above the coppice with its dead crown. It stands out all the more now the leaf has broken and everywhere has greened up. But the more I watch it, the more I have noticed what a popular spot it is for birds. It seems to be a viewing post for all visiting birds to the wood. Last night its purpose as a marking post was clearly pointed out to me when the woodland came alive with the ‘churring’ sound of the nightjar. Having flown from his winter retreat in Africa he had returned and picked this dead top of the chestnut from which to make his presence known. After a few minutes he stopped ‘churring’, swooped down, clapped his wings together and made for the large oak before beginning ‘churring’ once again. He then chose a birch before returning to the dead top of the chestnut tree to make his final call, his territory now clearly marked.

Without my time of observation, I might have followed my first impulse and felled the chestnut tree with the dead top, and never known of its importance to the nightjar or other birds. We have little understanding of the roles of particular trees in the lives of birds but even basic observation shows us that they spend a lot more time in direct relationship to trees than we do. With the exception of a few groups of forest-dwelling people around the world, it is unusual for us to live in trees, while for many species of birds it is clearly their usual location.

Many of our woodlands in the UK are managed based on plans that have taken little time for detailed observation, and many habitats are lost because of this. It is common for felling licences to be applied for to fell trees within a woodland, with only one visit having been carried out. If I had not been staying at Prickly Nut Wood at night, how would I have known that nightjars were migratory visitors to the land? The chances of seeing them in daytime are low, as they are highly camouflaged and stay on the ground. They do not create a proper nest, but scrape the ground and lay their eggs directly on to it.

My spring mornings would begin just before the awakening dawn chorus. On many mornings I would awake as the first glimmer of light brought form to the evolving silhouettes and wander over to the firepit and light a fire and put the kettle on.

Lighting a fire to boil water is a simple and satisfying experience, provided you are prepared and well stocked with firewood and kindling. My morning fire would begin with fine strips of birch bark, with small, dry twigs of sweet chestnut laid on top. I would light the fire and slowly blow into an old copper pipe with a flattened end, so as to direct my breath with good velocity wherever I pointed the pipe. As the fire took, I would build up the fire further with slightly larger pieces of chestnut. With stacks of dry material sorted into piles by their size, lighting a fire becomes as easy as turning on a cooker.

With the kettle on the fire, I would wait listening for the first sound to break the morning silence. I am still astonished how fast the chorus builds up. From the first delicate tones of the opening bird, within a couple of minutes there are so many birds singing that it becomes almost impossible to try to discern one bird from another. The dawn chorus in a broadleaf woodland in spring is truly one of the wonders of the world and a magical part of the environment I inhabit. Every year I am refreshingly amazed by its intensity of volume; friends who have stayed with me have resorted to ear defenders, so as not to be woken at 4.30 am. As for me, I am always happy to catch the first notes and will sometimes return to sleep after a brief ten-minute burst of choral bird song. To have such an array of birds within the woodland clearly shows that there is sufficient food and that it is an ideal habitat for them.

Observing the landscape of a woodland takes time. There is not the clear expanse of a grass field with hedgerows neatly marking the boundaries. A woodland offers little in the way of vistas to give you perspective of size or space. With an ancient woodland such as Prickly Nut Wood, which has not been cultivated by the plough and undulates across the landscape, much of the topography is hidden by the trees themselves. Added to this, Prickly Nut Wood had a thick wall of Rhododendron ponticum, which made the landscape impenetrable in places and further disguises the topography.

I remember clearly one of my first adventures, cutting a path through the rhododendron, bill hook in hand, and arriving suddenly at the base of a large oak tree. This tree, the largest in the wood, would stand out in any other landscape but here it was hidden amongst tall chestnut stems, birch re-growth and the blanket wall of established rhododendron. I estimate the tree to be around 300 to 350 years old, which is young to middle-aged for an oak tree. It has a circumference of more than 7 metres and a height of more than 25 metres. Its crown is similar to a parkland or field tree, in that it has spread and formed a large canopy. The regular cutting of the coppice woodland below it will have helped give it the light to expand and the coppice re-growth will have helped push the tree up taller. It stands proudly on a ridge and now I have cut the coppice to the north, the true branching pattern of the cerebral crown can be seen in its full glory. I have attached a swing seat to the oak and it makes a wonderful spot from which to survey the woodland and across to Blackdown beyond.

Having found the tree for the first time, I sat down on a mossy seat formed between the root buttresses and contemplated the changes that might have occurred during the life of a tree of this age. Perhaps germinating as a seed during the English Civil War, it will have been growing through countless changes, numerous wars and a good few king and queens. One of the buttresses has a large scar across it, angled as a woodsman would angle a cut to remove the buttress prior to setting the tree up for felling. The scar has calloused over and I like to think it was caused by a woodsman who, after beginning the cut, thought better of felling such a magnificent tree and decided to leave it to grow on. I am very thankful that he did.

It has also been struck by lightning on two occasions and carries the scars right down its trunk. The tree seems in good health and shows no signs of distress from this experience, bar the scars.

I often lie on the ground and look up through the vast array of branches, marvelling at the tree’s ability to hold up such a huge weight of timber high into the sky, and then consider the volume of water the tree is absorbing and then pumping through the sap layer to reach the millions of little leaves high above.

I can only guess at the role and value this tree has played in the lives of others who have gone before me, but even in my twenty years at Prickly Nut Wood it has become a focal point for celebration and contemplation.

My eldest son Rowan has the ashes of his maternal grandfather scattered beneath the oak, its presence seeming fit to be the chosen resting place by his grandmother after the loss of her husband. Friends of mine have asked to come and sit beneath it when they are going through a troubled period in their lives or are just seeking a quiet space. I too have turned to the tree and used its calm, ancient and peaceful presence when I have had troubles of my own.

It has featured as a focal point in a production of Shakespeare’s A Midsummer Night’s Dream, and is referred to in the book The Bard and Co, in which the tree is named ‘Shakespeare’s Oak’. Its acorns were recently taken to the Globe Theatre in London and then distributed, along with a picture of the tree, to those who attended to take away and plant.

Yesterday, Ben Law introduced it to us, the oldest tree in the wood. At this time of year, the scattered acorns were sprouting and beginning to send roots into the ground. We collected several cupfuls with the aim of giving everyone an acorn from Shakespeare’s Oak (now newly named).

The Bard and Co.

A local herbalist became a regular visitor to the oak tree. She was moved by the presence of ‘tree spirits’ that she clearly sensed when around the tree. Although I cannot claim to have had such an otherworldly experience, I am also drawn to the tree. Whether out of superstition or respect, in spring I always find myself looking across to the oak tree and subconsciously asking the tree’s blessing to continue burning charcoal in the woods.

The tree has always been a magical place for my children. Zed and Tess know the tree as ‘the story-telling tree’, for when you sit on the bench suspended from its limbs and swing and ask the tree politely for a story about whatever you wish for, the tree always responds (with a little help) by telling a story.

There is no doubt in my mind that this tree has become a sacred place to me and my family and friends over the last 20 years, and whether by circumstance or unknown force we have all in our way been drawn by the presence of this magical, ancient tree.

Beyond the oak, the woodland drops away through more sweet chestnut coppice and comes to a stream that flows near the northern boundary. This stream picks up both surface run-off from the woodland and the escarpment above, and is also fed by the springs that break between the clay and greensand soil layers. It opens out into a pond, now a wildlife haven for dragon- and damsel-flies, newts and often a grass snake.