Return to my Trees – a three hundred mile walk through Welsh forests

 Dod yn ôl fy nghoed...

        To return to my trees.

What on earth is that Welsh phrase supposed to mean? Unsurprisingly, knowing the poetic and lyrical nature of the Welsh nation, it doesn't just mean 'nipping into the woods'. It's a phrase used when someone needs to clear their head, to think again.

Matthew Yeomans, a Cardiff author of Rough Guides translates it as 'to return to a balanced state of mind...' 

Something that has been medically proved to occur when we walk in amongst trees; our blood pressure reduces and so does our anxiety levels. We return from our walk feeling de-stressed and ready for life.

the mythic map

Yeoman, who has been a traveller all his writing life, didn't have to travel far geographically to write this fourth book. Having travelled the world, he decided to walk through the ancient and modern forests of Wales, losing himself in the stories of the these woodlands––their natural word, of course, and the history of the trees, but also their wider history, mythology and legends, especially those which appear between the covers of the Mabinogion, the ancient tales of Wales. While Yeoman  explored the paths, he also explored the religions, culture, arts and music of Wales, as well as the industrial past and present of his home nation. 

Yeoman started in the Welsh Marches, at Wentwood,striding across the south of the country, to the Black Mountains. Then he worked northwards, past the Devil's Bridge, through Snowdonia and Llangollen and onwards to the north-eastern border, finally stopping at Chirk. 

Such a grand idea: linking the forest paths throughout a modern country, walking those (often unmarked) ways, talking to the local people and learning about the land. 300 miles is a massive journey, and Yeoman is still walking, often with other people who want to encourage us all to walk.

On Radio 6, Matthew Yeomans explained how this walk emerged out of the cabin fever of Covid. 'I had to get out…I didn't  know much about trees, but I heard that the Welsh Government had announced a plan to create a  national forest of Wales.' He wanted to find out if it was possible to travel through Wales without leaving woodland behind.

Recently, I walked just a few miles of Yeoman's Mythic Map, over the Bwlch Mountain near Maesteg, walking with my son and my dog. I love walking with others because that's when the most intimate and interesting chats happen, when you're looking ahead at the path and the trees, listening to the brook and the birds, you can open your heart. But walking along introduces a new dimension––not only bringing down stress and puts our lives into perspective––it allows me reach 

Top of the Bwlch Mountain

the most creative parts of my mind. When I walk alone, my books, stories, characters and settings accompany me and grow clearer and more real as I progress along my route. Many writers walk to invent their stories.

I've used walking as inspiration for years. It doesn't matter if the surrounds are urban or rural, but naturally it's nicer if there are trees. The most important thing is that I am on my own. When I walk alone, I chatter to my characters, and they chatter back.

Castell Cerreg Cennen:
 "castle on the rock above the river Cennen"

I'm keen to walk more trails on Yeoman's mythic map. I've already visited the lake of Llyn y Fan Fach, which features in the story of The Physicians off Myddfai, and the area around Trap, near Llandelio, where Castell Carreg Cennen  looms over the landscape where, in the Mabinogion, the magical boar, the Twrch Trwyth, sped past having killed most of Arthur's war band. 

This wonderful, inspiring book,  has grown, turning from one man's long walk into a book, a mythic map, and a Welsh playlist plus a list of podcasts all of which can be downloaded

As Yeoman, walks, linking just some of the woodlands and forests of Wales into one long passageway for animals, birds invertebrates and even humans, he constantly seeks an answer to the question; when and how did we humans lose our connection with nature – and how do we find it again? It occurs to me that this walk, this linking of trees with each footfall and rest against a bole of a friendly tree, is that first connection. Every time we walk among trees, they calm us, enliven us and tell us the deepest of Gaia's truths.

They are matchless,

My trees in winter. 

While I watch telly and eat carbs, 

Put the fire on, the heating up, 

They stand naked to the battle;

Steady for storm, ready for gale. 

Winter trees communicate in semaphore

Black flags against the half-day’s light.

They are gallows for bats,

Rigging for gulls,

Blue cages for robins 

Steeples for stormcocks.

In the cold sun, 

The oaks glow emerald with moss;

Planes strike piebald patterns;

Birch trunks shimmer like a high moon. 

I pull on gloves, hat, scarves,

Brave the cold to watch 

As they wait secure, 

Dreaming sap dreams,

Expectant for spring.                                                 (Trees in Winter by Nina Milton)

Not everyone lives near a forest. But I'm sure you can find some trees to enjoy. So go and enjoy them. Return to them, to clear your head, find a better perspective, solve you problems and, even, perhaps, write a book. You may return to a balanced state of mind. You may even  return to a balanced state of soul.

The Beautiful Tau Banner of Lady Dai; Duchess of Ancient China

 

 Xin Zhui, (better known as the Lady Dai)


 In 1971 some builders stopped for a smoke as they dug out an air raid shelter on a hill in Hunan, China. They were puzzled; as they dug deeper into the hill, the soil crumbled away as if it had  previously been disturbed. They lit their cigarettes and noticed that the matches burned with a deep blue flame. They might not have known that decomposition of human remains can release highly flammable gasses, but they left the site quickly, and reported their finding. 




The outside cavity holding the three coffins



When the archeologists arrived a few months later, they established that this was the resting place of a noble family of the Han dynasty. Two tombs, of the Marquis of Dai, who died in 186 BCE,  and  a male relative, who may have been a son or brother, had been disrupted and robbed. But the final tomb, built circa 163 BCE, for the Marquis's wife, Xin Zhui, (better known as the Lady Dai), was intact, and the archaeologists discovered  an opulent, spectacular and surprising interior. 



One of the three inner caskets

• The tombs were accessed via rectangular vertical shafts dug deep into the earth, a method originating from the bronze age. Lady Dai's funnel-like crypt contained more than 1,000 precious artefacts, including makeup, toiletries, lacquerware, and 162 carved wooden figures which represented her staff of servants. A meal was even laid out to be enjoyed by the 50 year-old duchess in the afterlife. In the central area lay three nesting coffins. Inside many layers of silk was the beautifully preserved mummy, wrapped in her finest robe, her skin still soft to the touch. The fact that she was quite corpulent, from her amazingly rich diet – scorpion soup was apparently a favourite – may have helped the quality of her ancient skin.

  

  An artefact found in the tomb

• The outermost coffin was a plain box. Inside were the three nesting coffins painted with  hugely expensive lacquer in black, red, and white. This protected from water damage and bacterial invasion. I cannot imagine how awed the archeologists must have been as they steadily revealed each coffin.
• But even more magnificent than all of this, was the banner that lay on top of the innermost of the coffins. This almost intact piece of beautifully painted silk would have been part of the procession of the Marquise  to her resting place. And on it were full and intricate instructions for her soul. The banner instructed Xin Zhui's spirit how to reach her paradise. 
• This T-shaped silk banner was over six feet long and in excellent condition for 2000-year-old fabric. It is a very early example of pictorial art in China.
• I first encountered this breathtaking story of life in Ancient China at a lecture given at Lampeter University, in West Wales. Fabric specialist had travelled from across the country to learn more about Lady Dai’s banner, its art and its messages. 
• The banner is divided into four horizontal sections. In the first, Lady Dai is pictured standing on a platform, leaning on a staff, wearing an embroidered silk robe. Framing the scene are white and pink sinuous dragons, their bodies looping through a 'bi' (a disc with a hole,  representing the sky). This section is remarkable in itself, as it is the earliest example of a painted portrait of a specific individual in China.
• In the section below this scene, sacrificial funerary rituals are portrayed in a mourning hall. Tripod containers and vase-shaped vessels for offering food and wine stand in the foreground. In the middle ground, seated mourners line up in two rows.
•  On a mound in the  between  two rows of mourners there are the patterns on the silk that match the robe Lady Dai wears in the scene above this.
• Lady Dai’s banner helps the modern world understand the religion she followed two millennia ago, and how artists began to represent depth and space in early Chinese painting. They made efforts to indicate depth through the use of the overlapping bodies of the mourners. They also made objects in the foreground larger, and objects in the background smaller, to create that illusion of space.
• Above and below the scenes of Lady Dai and the mourning hall, are images of heaven and the underworld. Toward the top, near the cross of the “T,” two men face each other and guard the gate to the heavenly realm. Directly above the two men, at the very top of the banner, is  a deity with a human head and a dragon body.
• Dragons and other immortal being look down from the sky to a toad standing on a crescent moon flanks the dragon/human deity and  what looks like a three-legged crow within a pink sun. The moon and the sun are emblematic of a supernatural realm above the human world. In the lower register, beneath the mourning hall,  the underworld is painted with a red snake, a pair of blue goats, and an earthly deity, holding up the floor of the mourning hall Two giant black fish cross to form a circle beneath him. The beings in the underworld symbolize water and earth, and they indicate an underground domain below the human world. 
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• While other mummies tend to crumble at the slightest movement, Dai is the most well-preserved ancient corpse yet to be discovered. Unlike most of the mummies found in ancient Egypt, her organs were all intact –  there was still blood in her veins—Type A. This allowed pathologists the once-in-a-lifetime opportunity to perform an autopsy on the preserved body, 2,100 years after her death, ultimately giving us a firsthand glimpse at how the richest of the rich lived during the Han Dynast and is arguably the most complete medical profile ever compiled on an ancient individual.
• Thanks to her luxurious lifestyle, the Marquise had osteoporosis, arteriosclerosis, gallstones, liver disease, diabetes, and high cholesterol. She must have been in pretty constant pain from a fused spinal disc.
• Immediately after she was exposed to oxygen for the first time in 2,000 years, her body started to break down, which caused some of the visible decay apparent in the photograp of her mummy at the top of this blog.  Her body and belongings were taken into  the care of the Hunan Museum, where she now lies in state.
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