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The issue of causation is one of the most important philosophical issues, so that without having a good understanding of this concept, it is impossible to understand the world. Any kind of discussion, speaking, and experience, or any human action is based on some kind of understanding of the concept of causation and accepting its reality. The issue of causation can be discussed from various aspects. Modern Western philosophers including Hume and Kant have treated this issue from epistemological point of view. But Muslim philosophers consider it as an ontological one. Mullah Sadrā as a great Muslim philosopher has dealt with this issue and has given its correct meaning with reference to its various forms in his works particularly, in his main book al-Asfār. By proving the principality of existence and mentally-positedness of quiddity, he claimed that it is not possible to explain causation on the basis of quiddity and quiddative possibility. At first, he explained causation on the basis of gradational unity of existence, but since this unity may lead to the separation of cause and effect, he finally by following a mystical approach to this principle, shifted from gradational unity to the individual unity of existence. He explained the principle of causation with reference to the mystical oneness of being, since there is no room for multiplicity. In such an approach, effect will be nothing other than a symbol or sign and has no identity other than a kind of mirror

to explore his Nietzsche's early and later response to nihilism and pessimism focused on reading I.This essay is focused on Nietzsche’s unique reading of the Pandora myth as it appears in Human, All Too Human and develops an interpretation of Hope, the most profound evil of the many evils released by Pandora infecting the human condition, as it might be understood in relation to Nietzsche’s analysis of the ancient Greeks in The Birth of Tragedy. In reading this early work of Nietzsche, modes of comportment that fall under two specific categories are considered: Passive Nihilism-Pessimism of Decline and Active Nihilism-Pessimism of Strength as understood by Nietzsche in the late compilation of his notes published as The Will to Power. Ultimately, this essay explores the artistic responses to the bleak and pessimistic conditions of the Greeks’ lives found in the Apolline art in the Homeric Greeks and the tragic-art of the Greeks, which Nietzsche argues is the ultimate expression of art as the merging of the “aesthetic” principles of the Apolline and Dionysiac. These aesthetic responses are elucidated in and through the comparison to modes of existence that impede the spirit’s optimal, flourishing development, specifically, as expressed through Christianity and “Socratic optimism” in the superior power of human reason.