We cannot undertake to enumerate all the aesthetic qualities of war, or to show all the relations of the aesthetic aspects to other motives of war in detail, since to do so would mean to work out some of the fundamental principles of aesthetics. We may begin, however, by saying that war as a whole, as a movement in which there is complete organization of social forces shows already the marks of aesthetic experience and of art. As such a unification of interest in a strong and uninhibited movement, as a cooerdinated expression of deep desires, a multiplicity of action with a unity of purpose, so to speak, war is aesthetic in form although to mention such very general qualities does not go very far toward characterizing an object. In its meaning as _tragedy_ war contains and exerts a strong aesthetic appeal. With all its horrors, war fascinates the mind. As fate, death, history it inspires awe, and creates a sense of the inevitableness of events and of the play of transcendental and inexorable forces in human life. When, under any influence, these feelings appear as an accepting and willing of evil, we have the tragic movement as we find it in art. The death _motif_ in war is the center of a variety of states which are ecstatic and have aesthetic quality. The religion of valor, the passion that is aroused by abandoning oneself to fate, the absolute devotion of service are aesthetic in form as experience, whatever else they may be. The relation of these motives to love and to the reproductive impulses has often been noticed. Devotion and death appear as beautiful; their representation in art is in part a recognition of this fact; in part it is an effort to transform them into the forms of the aesthetic. Art celebrates, but also creates, this luxury of feeling, and war also in its own dramatic movement transforms ugly and plain facts of life by including them in ecstatic states, and surrounding them with glory.