Sir Philip Sidney in his "An Apology for Poetry" gives his view about the "right poets" while discussing about the definition and function of poetry i.e. "Poesy, therefore, is an art of imitation, for so Aristotle termeth it in his word 'mimesis', that is to say, a representing, counterfeiting or figuring forth; to speak metaphorically, a speaking picture, with this end, to teach and delight". Sidney says about three kinds of poets:
  1) Religious poets like David, Solomon, Moses and Deborah, Emanuel Tremellius, and Franciscus Junius etc.
 2) Philosophical poets like Tyrtaeus, Phocylides, Cato, Lucretius, Virgil, Manilius, Pontanus, Lucan etc.
 3) Finally the " right poets".

    Actually the 2nd kind of poets have their boundary of theme and representation. They are not allowed to represent anything that they like and that's why the "right poets" rise their heads among them.

    Sidney supports these poets, because they are free to Imagine as they want and therefore they are able to fulfil the function of poetry very genuinely- "For these third be they which most properly do imitate to teach and delight; and to imitate borrow nothing of what is, hath been, or shall be; but range, only reined with learned discretion, into the divine consideration of what may be and should be."

    Sidney termed them as 'vates' as they teach the ordinary people delightfully. And this delight does "move men to take that goodness in hand, which without delight they  would fly as  from a stranger...." and that teaching makes them "know that goodness whereunto they are moved...."

    As the right poets are able to fulfil the function of poetry, Sidney supports and votes these poets above religious and philosophical masters.                                          

Sir Philip Sidney is a strong advocate of three dramatic unities, of time, place and action. These three unities must be a true copy of life. Sidney in his literary critique, "An Apology for Poetry" regretted that none of the English plays except "Gorboduc", to some extent, observed the unities.

    According to Sidney, Unity of time requires that the plot should not exceed the limit of one natural day of twenty four hours. If the action exceeds the limit, the play would appear to be highly unnatural. Sidney means to say that if the play contains the incidents of two days, then the drama should be staged for two days, then it may be convenient.

    Again Sidney says that the unity of place requires that the action of the play  should not shift frequently from one distant place to another. But the English dramatists used the same stage as a garden, as a shipwreck, as a cave, or as a 'pitched field'. This is straining the imagination of the spectator to a breaking point. This is highly illogical, according to Sidney. So it must be avoided.

    And finally he says of the unity of action. It should be no admixture of the comic and tragic scenes in the most absurd way. A comedy should be a comedy and a tragedy should be a tragedy from the very beginning till the end. The king and the clown should not be mixed up on the stage.                               

    Sidney's "An Apology for Poetry" is one of the best introduction to Renaissance literature where he gives his critical idea about the importance of rhyming and versification in poetry.

    According to Sidney, rhyme is not the essence of poetry, and poetry is not mere rhyming and versification. It is used to polish and sharpen the speech. Rhyme regulates verbal harmony,  imparts order and proportion; moreover it adds a sensuous and emotional quality to poetry and also is an aid to memory.

    So it was not rhyming and versing that matters more, they were like ornaments, like garbs to beautify a body and a soul of its own, and also have a rich imagination and power to appeal. It must have good, noble and lofty subject, suitable style and language. Poetry must be able to 'teach and delight'. Poetry is full of virtue; it has,a divine origin, prophetic nature, cultural value, universal appeal and elevating power and alluring methods.

    In order to prove his point, Sidney here uses certain examples of "excellent poets that never versified" like Xenophon, and Helidorus and "now swarm many versifiers that need never answer to the name of poets." Helidorus wrote in prose, but made a poetic picture of love of Theagenes and Chariclea. These examples go to prove that "it is not rhyming and versing that maketh a poet.... but it is the feigning notable images of virtues vices..... with that delightful teaching which must be the right describing note to know a poet by."

    There are many criticisms against Sidney's view on rhyme. W. P. Ker in his "Form & Style in Poetry " says, "The form of verse is not separable from the soul of poetry, and poetry has neither kernel, nor husk, but it is all alone." A. E. Houseman also says, "Poetry is not the thing said, but a way of saying it." Here he also    emphasizes on the decorations of poetry, not on the meaning of it.