 There should be no great surprise that Hume insists that moral judgments must sometimes enter into our aesthetic evaluations. (Good introductions to Hume’s view are provided by Mason (2001), Dadlez (2002), and Winegar (2011).) Hume does not offer a sharp distinction between moral and aesthetic taste. Evaluations that subsequent aesthetic theories regard as a purely aesthetic are, for Hume, concluding sentiments following numerous observations of contributing strengths and weaknesses. When a work of art represents human activity, then Hume’s account of moral evaluation requires that moral sentiment accompany apprehension of the action. The fictional status of the work weakens our sympathetic response, but the mere sequence of ideas will be sufficient to produce weaker versions of the sentiments that one would have if one were faced with the actual events. Given Hume’s moral theory, there is no possibility of suspending our moral response. Moral sentiments are natural and immediate. At best, one can gain a better understanding of the cultural context responsible for the work, so that one’s moral sentiments will not be negative through mere prejudice. Hume’s theory of sentiments requires that if we are going to have an aesthetic evaluation of a play’s plotting and language, then we are also going to have a moral response to its display of virtue and vice. Both must enter into our final sentiment of approbation or disapprobation.