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36-452: Rerum may refer to : Lacrimae rerum is the Latin for tears for things. Rerum novarum is an encyclical issued by Pope Leo XIII on May 16, 1891. Rerum Moscoviticarum Commentarii was a Latin book by Baron Sigismund von Herberstein on the geography, history and customs of Muscovy. Rerum Deus Tenax Vigor is the daily hymn for None in

72-551: A commercial broadcaster. Over the next eight years Clark wrote and presented series and one-off programmes on the visual arts, ranging from Caravaggio to Bruegel the Elder , Rembrandt , Goya , Van Gogh and Picasso , and a co-production for commercial television and the BBC , Royal Palaces . In 1966 David Attenborough , the controller of the BBC's new second television channel, BBC2 ,

108-409: A congenial working relationship. They and their production team spent three years from 1966 filming in a hundred and seventeen locations in thirteen countries. The filming was to the highest technical standards of the day, and quickly went over budget; it cost £500,000 by the time it was complete. Attenborough rejigged his broadcasting schedules to spread the cost, transmitting each episode twice during

144-512: Is different from Wikidata All article disambiguation pages All disambiguation pages Lacrimae rerum In this passage, Aeneas gazes at a mural found in a Carthaginian temple dedicated to Juno that depicts battles of the Trojan War and the deaths of his friends and countrymen. Aeneas is moved to tears and says "sunt lacrimae rerum et mentem mortalia tangunt" ("There are tears for [or 'of'] things and mortal things touch

180-523: Is the fifth piece in Franz Liszt 's third and last volume of his Years of Pilgrimage ( Années de pèlerinage ). David Mitchell uses the phrase as the last sign-off in the letters from Robert Frobisher to his friend Sixsmith in the penultimate section of his novel Cloud Atlas . W. H. Auden uses the phrase in his poem 'A Walk after Dark'. Wisława Szymborska uses the phrase in her poem 'Lata Sześćdziesiąte', translated to English as "A Film From

216-523: The COVID-19 pandemic . Wharton, David (2008). "Sunt Lacrimae Rerum: An Exploration in Meaning" (PDF) . The Classical Journal . 103 (3): 259–279. doi : 10.1353/tcj.2008.0008 . JSTOR   30037962 . Civilisation (TV series) Civilisation —in full, Civilisation: A Personal View by Kenneth Clark —is a 1969 British television documentary series written and presented by

252-472: The French Revolution led to the dictatorship of Napoleon and the dreary bureaucracies of the 19th century, and he traces the disillusionment of the artists of Romanticism —from Beethoven 's music to Byron 's poetry, Delacroix 's paintings, and Rodin 's sculpture. Clark concludes the series with a discussion of the materialism and humanitarianism of the 19th and 20th centuries. He visits

288-515: The 17th century. Clark talks of the harmonious flow and complex symmetries of the works of Bach , Handel , Haydn , and Mozart and the reflection of their music in the architecture of the Rococo churches and palaces of Bavaria . Clark discusses the Age of Enlightenment , tracing it from the polite conversations of the elegant Parisian salons of the 18th century to subsequent revolutionary politics,

324-717: The Catholic Church's fight—the Counter-Reformation —against the Protestant north and the Church's new splendour symbolised by the glory of St Peter's . Clark tells of new worlds in space and in a drop of water—worlds that the telescope and microscope revealed—and the new realism in the Dutch paintings of Rembrandt and other artists that took the observation of human character to a new stage of development in

360-615: The Roman Catholic Breviary. Silva rerum was a specific type of a book, a multi-generational chronicle. Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Rerum . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Rerum&oldid=997448548 " Category : Disambiguation pages Hidden categories: Short description

396-563: The Sixties". In the introductory video of his YouTube series The Dictionary of Obscure Sorrows , John Koenig uses the phrase, and sentiment, to introduce his compendium of invented words that aims to fill holes in the English language—to give a name to 'emotions we all feel but don't have a word for'. The line was cited by Pope Francis in the 2020 papal encyclical Fratelli tutti , "On fraternity and social friendship," in reference to

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432-412: The alien shores of Carthage as a refugee: the sons of Atreus (Agamemnon and Menelaus), Priam, and Achilles, who was savage to both sides in the war. He then cries out: "Sunt hic etiam sua praemia laudi; sunt lacrimae rerum et mentem mortalia tangunt. Solve metus; feret haec aliquam tibi fama salutem." "Here, too, the praiseworthy has its rewards; there are tears for things and mortal things touch

468-563: The art historian Kenneth Clark . The thirteen programmes in the series outline the history of Western art , architecture and philosophy since the Dark Ages . The series was produced by the BBC and aired from February to May 1969 on BBC2 . Then, and in later transmissions in Britain, the US and other countries it reached an unprecedented number of viewers for an art series. Clark's book of

504-403: The aspirations and achievements of the later Middle Ages in 14th century France and Italy. Visiting Florence , Clark argues that European thought gained a new impetus from its rediscovery of its classical past in the 15th century. He visits the palaces at Urbino and Mantua and other centres of ( Renaissance ) civilisation. Here Clark takes the viewer back to 16th century Papal Rome —noting

540-416: The best telly you’ve ever seen". The magazine's reviewer continued, "Scholars and academics had their understandable quibbles, but for the general public the series was something like a revelation. Art-museum exhibits in both England and the U.S. reported a surge of visitors following each episode." There have been complaints in recent times that by focusing on a traditional choice of the great artists over

576-565: The camerawork and direction ... rise to the poetry of cinema". The British Film Institute notes how Civilisation changed the shape of cultural television, setting the standard for later documentary series, from Alastair Cooke 's America (1972) and Jacob Bronowski 's The Ascent of Man (1973) to the present day. The BBC announced in 2015 that it was to make a ten-episode sequel to Clark's series, to be called Civilisations (plural), with three presenters, Mary Beard , David Olusoga and Simon Schama . A co-production with PBS in

612-479: The centuries – all men – Clark had neglected women, and presented "a saga of noble names and sublime objects with little regard for the shaping forces of economics or practical politics". His modus operandi was dubbed "the great man approach", and he described himself on screen as a hero-worshipper and a stick-in-the-mud. He commented that his outlook was "nothing striking, nothing original, nothing that could not have been written by an ordinary harmless bourgeois of

648-826: The convergence of Christianity and antiquity. He discusses Michelangelo , Raphael , and Leonardo da Vinci ; the courtyards of the Vatican ; the rooms decorated for the Pope by Raphael ; and the Sistine Chapel . Clark discusses the Reformation —the Germany of Albrecht Dürer and Martin Luther and the world of the humanists Erasmus , Montaigne , and Shakespeare . In the Rome of Michelangelo and Bernini , Clark tells of

684-467: The end of the Dark Ages to the early twentieth century. As the civilisation under consideration excludes Graeco-Roman, Asian and other historically important cultures, a title was chosen that disclaimed comprehensiveness: Civilisation: A Personal View by Kenneth Clark . Clark later commented, "I didn't suppose that anyone would be so obtuse as to think that I had forgotten about the great civilisations of

720-435: The genitive as objective understand the phrase as meaning that there are tears for things (in particular, the things Aeneas has endured) evinced in the mural: i.e., the paintings show Aeneas that he finds himself in a place where he can expect compassion and safety. The context of the passage is as follows. Aeneas sees on the temple mural depictions of key figures in the Trojan War , the war from which he had been driven to

756-423: The genitive as subjective translate the phrase as meaning that things feel sorrow for the sufferings of humanity: the universe feels our pain. Others translate the passage to show that the burden human beings must bear, ever-present frailty and suffering, is what defines the essence of human experience. Yet in the next line, Aeneas says: "Release (your) fear; this fame will bring you some deliverance." Those who take

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792-568: The great European palaces of Blenheim and Versailles , and finally Thomas Jefferson 's Monticello . Belief in the divinity of nature, Clark argues, usurped Christianity's position as the chief creative force in Western civilisation and ushered in the Romantic movement. Clark visits Tintern Abbey and the Alps and discusses the landscape paintings of Turner and Constable . Clark argues that

828-404: The industrial landscape of 19th century England and the skyscrapers of 20th century New York City . He argues that the achievements of the engineers and scientists—such as Brunel and Rutherford —have been matched by those of the great reformers like Wilberforce and Shaftesbury . The series was co-produced by Gill and Peter Montagnon ; the cinematographer was Kenneth McMillan; original music

864-451: The later nineteenth century": I hold a number of beliefs that have been repudiated by the liveliest intellects of our time. I believe that order is better than chaos, creation better than destruction. I prefer gentleness to violence, forgiveness to vendetta. On the whole I think that knowledge is preferable to ignorance, and I am sure that human sympathy is more valuable than ideology. The broadcaster Huw Weldon believed that Civilisation

900-493: The mind. Release your fear; this fame will bring you some safety." Virgil, Aeneid , 1.461 ff. A translation by Robert Fagles renders the quote as: "The world is a world of tears, and the burdens of mortality touch the heart." Robert Fitzgerald , meanwhile, translates it as: "They weep here / For how the world goes, and our life that passes / Touches their hearts." In his television series Civilisation , episode 1, Kenneth Clark translated this line as "These men know

936-402: The mind.") The genitive "rerum" can be construed as "objective" or "subjective." The scholar David Wharton observes that the "semantic and referential indeterminacy is both intentional and poetically productive, lending it an implicational richness most readers find attractive." In English, however, a translator must choose either one or the other, and interpretation has varied. Those who take

972-491: The pathos of life, and mortal things touch their hearts." The poet Seamus Heaney rendered the first three words, "There are tears at the heart of things." The phrase is sometimes taken out of context, on war memorials for example, as a sad sentiment about life's inescapable sorrows. In the poem the phrase appears as Aeneas realizes that he need not fear for his safety, because he is among people who have compassion and an understanding of human sorrow. "Sunt Lacrimae rerum"

1008-948: The pre-Christian era and the East. However, I confess the title has worried me. It would have been easy in the eighteenth century: Speculations on the Nature of Civilisation as illustrated by the Phases of Civilised Life in Western Europe from the Dark Ages to Present Day . Unfortunately, this is no longer practicable." Although the series focused chiefly on the visual arts and architecture, there were substantial sections about drama, literature, music, philosophy and socio-political movements. Clark wanted to include more about law and philosophy, but "I could not think of any way of making them visually interesting." After initial mutual antipathy, Clark and his principal director, Michael Gill , established

1044-536: The same title, based on the series, was published in 1969. Its production standards were generally praised and set the pattern for subsequent television documentary series. The New Yorker magazine described it as revelatory for the general viewer. The BBC's DVD issue in 2005 has remained in the catalogues, and Clark's accompanying 1969 book has never been out of print. Clark had pioneered British television series about art, beginning in 1958, with Is Art Necessary? , an experimental series for Associated Television ,

1080-402: The series. Civilisation attracted unprecedented viewing figures for a high art series: 2.5 million viewers in Britain and 5 million in the US. Clark's accompanying book has never been out of print, and the BBC issued the series on DVDs which continued to sell thousands of copies every year. In 2016, The New Yorker echoed the words of John Betjeman , describing Clark as "the man who made

1116-576: The sudden reawakening of European civilisation in the 12th century. He traces it from its first manifestations in Cluny Abbey to the Basilica of St Denis and finally to its high point, the building of Chartres Cathedral in the early 13th century. Beginning at a castle in the Loire and then travelling through the hills of Tuscany and Umbria to the cathedral baptistry at Pisa , Clark examines

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1152-661: The thirteen-week run. In this first episode Clark—travelling from Byzantine Ravenna to the Celtic Hebrides , from the Norway of the Vikings to Charlemagne 's chapel at Aachen —tells the story of the Dark Ages , the six centuries following the collapse of the Roman Empire , and “how European thought and art were saved by 'the skin of our teeth'”. (US broadcast title: The Frozen World .) Clark tells of

1188-400: The word "civilisation" to sum up what the series would be about. I had no clear idea what "civilisation" meant, but thought it was preferable to barbarism, and fancied that this was the moment to say so. Clark on the genesis of Civilisation The series consists of thirteen programmes, each fifty minutes long, written and presented by Clark, covering western European civilisation from

1224-611: Was "a truly great series, a major work ... the first magnum opus attempted and realised in terms of TV." There was a widespread view among critics, including some unsympathetic to Clark's selections, that the filming set new standards. The series was described as "visually stunning" by critics on both sides of the Atlantic, including Paul B. Harvey in the US and Mary Beard in Britain. In 2011 Jonathan Jones wrote in The Guardian of Civilisation's "sheer visual beauty ...

1260-530: Was composed by Edwin Astley. Gill directed episodes 1, 3, 5, 8, 10, 12 and 13. Montagnon directed episodes 2, 6, 7, 9, and co-directed episode 11 with Ann Turner, who also directed episode 4. The series was replayed on BBC Four and released in the Region 2 DVD area in 2005; a Region 1 set followed in 2006. The DVD release included a short interview with David Attenborough about the commissioning and production of

1296-452: Was in charge of introducing colour broadcasting to the UK, He conceived the idea of a series about great paintings as the standard-bearer for colour television, and had no doubt that Clark would be much the best presenter for it. Clark was attracted by the suggestion, but at first declined to commit himself. He later recalled that what convinced him that he should take part was Attenborough's use of

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