 Where appropriate, the refined taste of a good critic will weigh the relative contributions of all aspects of the object of taste. Formal design is a contributing excellence and not the sole focus of aesthetic discrimination. To arrive at a proper moral judgment, “all the circumstances and relations must be previously known; and the mind, from the contemplation of the whole, feels some new impression of affection or disgust, esteem or contempt, approbation or blame” (EPM, 290). Aesthetic discrimination works in the same way (EPM, 291). In some situations, a single inharmonious element can upset the beauty of the whole. Hume discusses such cases in “Of the Standard of Taste.” But then what of tragic literature, in which sympathy produces ongoing unease? How can there be an impression of approbation for a tragic play? Hume addresses this problem in “Of Tragedy.”