A Pause in History at Urnes

23 July 2012

Monday


The Urnes Stave church — the sun came out briefly as we crossed the fjord from Solvorn to Urnes, though the rest of the day was overcast or raining.

Even if you know what to look for, it is quite difficult to pick out the Urnes stave church from across the fjord at Solvorn, where a small ferry departs each hour on the hour to take tourists and a few cars and bicycles across Sognefjord over to the Urnes side (also spelled “Ornes”). Once across, you walk up the hill to the top of the village, and there sits the Urnes stave church among trees and the cultivated hillsides, just as it has been sitting for more then 800 years. This is the second time I have been to Urnes, and I was unable to see the stave church from across the fjord; perhaps if I had had binoculars I would have seen it, but it melds into the landscape from which it came.

Looking back to Solvorn from the top of the hill at Urnes, standing next to this ancient wooden structure, little changed from when it was built — Urnes is thought to be the oldest of the surviving stave churches, with timbers dating from 1129-1130 (thanks to dedrochronology) — it is very easy to imagine the villagers are Solvorn getting into the wooden boats, rowing across the fjord, and walking up the hill to attend services in their ancient church. We often hear the phrase “time stands still” — at Urnes, you can stand still along with time for a few moments. Here, history has been paused.

In so saying that history is paused at Urnes I am reminded of a passage from Rembrandt and Spinoza by Leo Balet, which I quoted previously in Capturing the Moment:

“In those of his portraits where the portrayed is not acting, but just resting, pausing, we get the feeling that the resting continues, that it is a resting with duration, a resting, thus, in time; in those pictures we are closer to life than in the portraits where just the breaking off of the action makes us so vividly aware that his whole action was make-believe.”

Leo Balet, Rembrandt and Spinoza, p. 184

Balet here frames his thesis in terms of portraiture, but the same might be said of a photograph or a sculpture — or even of a place that changes but little over the years. Urnes is such a place, and, in fact, there are many such places in Norway. Yesterday in A Wittgensteinian Pilgrimage I noted how Wittgenstein’s correspondents in Skjolden often closed their letters with, “All is as before here” (“Her er det som før”). in Skjolden, too, time is paused.

Similarly, the busyness of the world appears to us as mere make-believe when seen from the perennial perspective of unchanging continuity in time. Our hurried and harassed lives seem mindless and perhaps a bit comical when compared to forms of life that endure — or, to put it otherwise, compared to modes of life that enjoy historical viability.

I have elsewhere defined historical viability as the ability of an existent to endure in existence by changing as the world changes; now I realize that the world changes in different ways at different times and places, so that historical viability is a local phenomenon that is subject to conditions closely similar to natural selection — existents are selected for historical viability not by being “better” or “higher” or “superior” or “perfect,” but by being the most suited to their environment. In the present context, “environment” should be understood as the temporal or historical environment of a historical existent — with this in mind, a more subtle form of the principle of historical viability begins to emerge.

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Solvorn, across the fjord from Urnes.

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Grand Strategy Annex

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