ویری تاس

ویری تاس
	راست گوئی کی دیوی
	عدالتِ عظمیٰ کینیڈا کے باہر ویری ٹاس کا مجسمہ
جنس	مونث
یونانی مساوی	الیتھیا (متنازع)

اساطیرِ روما میں ویریتاس سچائی کی دیوی تھی۔ یہ زَمان (وقت) کے دیوتا ساتورنوس (یونانیوں کے نزدیک کرونوس) کی بیٹی تھی، ممکن ہے سب سے پہلے پلو ٹارک نے ایسا کہا ہو) اور ورتوس (یعنی بہادری یا نیکی) کی ماں سمجھی جاتی ہے۔ کچھ روایتوں میں ویریتاس کو جوپیٹر (یونانیوں کے دیوتا زیوس) کی بیٹی کہا گیا ہے^[1] اور کہیں کہیں اسے پرومی تھیئس کی تخلیق بھی بتایا گیا ہے۔^[2]^[3]

یہ دیوی اتنی پوشیدہ سمجھی جاتی ہے کہ کہا جاتا ہے وہ کسی مقدس کنویں کی تہ میں چھپی ہوئی تھی۔^[4] اسے دو انداز میں دکھایا گیا ہے: ایک، سفید لباس میں باکرہ لڑکی کے طور پر اور دوسرا ”برہنہ سچائی“ (nuda veritas) کی شکل میں جو ہاتھ میں آئینہ لیے کھڑی ہوتی ہے۔^[5]^[6]^[7]

یونانیوں میں اس کی متبادل دیوی الیتھیا (Ἀλήθεια) ہے، جس کا مطلب بھی سچائی ہی ہے۔

ویریتاس رومی اقدار میں سچائی کی علامت تھی اور یہ کسی بھی اچھے رومی کی بنیادی خوبیوں میں شمار ہوتی تھی۔ جرمن فلسفی مارٹن ہائیڈیگر کا کہنا ہے کہ ”الیتھیا“ جس سچائی کو ظاہر کرتی ہے، وہ”ویریتاس“ سے مختلف ہے۔ الیتھیا کا مطلب ہے پردہ ہٹانا یا ظاہر کر دینا، جبکہ ویریتاس کا تعلق انصاف، درستی اور یہاں تک کہ نطشے کے اقتدار کی خواہش جیسے خیالات سے جوڑ دیا جاتا ہے۔^[8]

مغربی تہذیب میں ویری ٹاس کا لفظ کئی جگہوں پر بطور شعار بھی استعمال ہوتا ہے۔

حوالہ جات

↑ Pindar Olympian Ode 10: But come, Muse, you and the daughter of Zeus, unforgettable Truth: with the hand that puts things right, keep from me the blame for lying, for wronging my friend. Approaching from far away, the future has arrived and made me ashamed of my deep debt. Still, payment with interest has a way of dissolving the bitter reproach of men.[1]
↑ Aesop Fables 530 (from Phaedrus Appendix 5): Prometheus, that potter who gave shape to our new generation, decided one day to sculpt a statue of Truth, using all his skill so that she would be able to regulate people's behaviour. As he was working, an unexpected summons from mighty Jupiter called him away. Prometheus left cunning Trickery in charge of his workshop (Trickery had recently become one of the god's apprentices). Fired by ambition, Trickery used the time at his disposal to fashion with his sly fingers a figure of the same size and appearance as Truth with identical features. When he had almost completed the piece, which was truly remarkable, he ran out of clay to use for her feet. The master returned, so Trickery quickly sat down in his seat, quaking with fear. Prometheus was amazed at the similarity of the two statues and wanted it to seem as if all the credit were due to his own skill. Therefore, he put both statues in the kiln and when they had been thoroughly baked, he infused them both with life: sacred Truth walked with measured steps, while her unfinished twin stood stuck in her tracks. That forgery, that product of subterfuge, thus acquired the name of Falsehood, and I readily agree with people who say that she has no feet: every once in a while something that is false can start off successfully, but with time the Truth is sure to prevail.[2]
↑ Samuel L. Macey (2010). Patriarchs of Time: Dualism in Saturn-Cronus, Father Time, the Watchmaker God, and Father Christmas (بزبان انگریزی). University of Georgia Press. pp. 34–36. ISBN:978-0-8203-3797-5. Retrieved 2017-10-04.
↑ This aphorism is attributed Democritus: "Of truth we know nothing, for truth is in a well." (Diogenes Laertius. Lives of Eminent Philosophers (بزبان انگریزی). IX, 72. Perseus Project, Tufts University.)
↑ Mercatante, Anthony S. The Facts on File Encyclopedia of World Mythology and Legend. Facts on File, 1988, p. 654, ISBN 0-8160-1049-8.
↑ Marina Warner (1985). Monuments and Maidens: The Allegory of the Female Form (بزبان انگریزی). Berkeley: University of California Press. p. 315. ISBN:0-520-22733-6.
↑ Helena Goscilo (1 Jun 2010). "The Mirror in Art: Vanitas, Veritas, and Vision". Studies in 20th & 21st Century Literature (بزبان انگریزی). 34 (2): 282–319. DOI:10.4148/2334-4415.1733. Retrieved 2018-09-26.
↑ Arleen B. Dallery; Charles E. Scott; P. Holley Roberts (1992). Ethics and Danger: Essays on Heidegger and Continental Thought Issue 17 of Selected studies in phenomenology and existential philosophy (بزبان انگریزی). SUNY Press. p. 72. ISBN:978-0-7914-0983-1. Retrieved 2017-10-04.

[1] Pindar Olympian Ode 10: But come, Muse, you and the daughter of Zeus, unforgettable Truth: with the hand that puts things right, keep from me the blame for lying, for wronging my friend. Approaching from far away, the future has arrived and made me ashamed of my deep debt. Still, payment with interest has a way of dissolving the bitter reproach of men.[1]

[2] Aesop Fables 530 (from Phaedrus Appendix 5): Prometheus, that potter who gave shape to our new generation, decided one day to sculpt a statue of Truth, using all his skill so that she would be able to regulate people's behaviour. As he was working, an unexpected summons from mighty Jupiter called him away. Prometheus left cunning Trickery in charge of his workshop (Trickery had recently become one of the god's apprentices). Fired by ambition, Trickery used the time at his disposal to fashion with his sly fingers a figure of the same size and appearance as Truth with identical features. When he had almost completed the piece, which was truly remarkable, he ran out of clay to use for her feet. The master returned, so Trickery quickly sat down in his seat, quaking with fear. Prometheus was amazed at the similarity of the two statues and wanted it to seem as if all the credit were due to his own skill. Therefore, he put both statues in the kiln and when they had been thoroughly baked, he infused them both with life: sacred Truth walked with measured steps, while her unfinished twin stood stuck in her tracks. That forgery, that product of subterfuge, thus acquired the name of Falsehood, and I readily agree with people who say that she has no feet: every once in a while something that is false can start off successfully, but with time the Truth is sure to prevail.[2]

[3] Samuel L. Macey (2010). Patriarchs of Time: Dualism in Saturn-Cronus, Father Time, the Watchmaker God, and Father Christmas (بزبان انگریزی). University of Georgia Press. pp. 34–36. ISBN:978-0-8203-3797-5. Retrieved 2017-10-04.

[4] This aphorism is attributed Democritus: "Of truth we know nothing, for truth is in a well." (Diogenes Laertius. Lives of Eminent Philosophers (بزبان انگریزی). IX, 72. Perseus Project, Tufts University.)

[5] Mercatante, Anthony S. The Facts on File Encyclopedia of World Mythology and Legend. Facts on File, 1988, p. 654, ISBN 0-8160-1049-8.

[6] Marina Warner (1985). Monuments and Maidens: The Allegory of the Female Form (بزبان انگریزی). Berkeley: University of California Press. p. 315. ISBN:0-520-22733-6.

[7] Helena Goscilo (1 Jun 2010). "The Mirror in Art: Vanitas, Veritas, and Vision". Studies in 20th & 21st Century Literature (بزبان انگریزی). 34 (2): 282–319. DOI:10.4148/2334-4415.1733. Retrieved 2018-09-26.

[8] Arleen B. Dallery; Charles E. Scott; P. Holley Roberts (1992). Ethics and Danger: Essays on Heidegger and Continental Thought Issue 17 of Selected studies in phenomenology and existential philosophy (بزبان انگریزی). SUNY Press. p. 72. ISBN:978-0-7914-0983-1. Retrieved 2017-10-04.

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