With the early text from Nietzsche's estate, one of Nietzsche's basic motifs appears. Using the example of the transition from Greek tragedy to Euripidean comedy and the pre-Socratics to Socrates, Nietzsche exemplifies his criticism of the hubris of rationality and the loss of a musical, intuitive access to the world. The "different artistic instincts", forms of knowledge and life that are still described with the terms of the Apollonian and Dionysian, are not about marking a dichotomy. Nietzsche emphasizes a mutual penetration and balance. For Nietzsche, the rational individual is also always a dividual, which, in addition to the separatingly structuring ratio, requires the complement of a relational, musical perception in the instinct of its tremendous participation.