  Baumgarten thus innovates within the formal structure of Wolffian philosophy in order to accommodate a non-cognitivist aspect of the aims of art. Indeed, his emphasis on the poetic arousal of emotion has recently been argued to be a subtle Pietist response to Wolffian intellectualism. This aspect of Baumgarten’s early poetics clearly impressed his student Meier, who devoted one of his earliest books to a Theoretical Doctrine of the Emotions, or “Gemüthsbewegungen,” literally, “movements of the mind.” Meier states that