Sidney's discussion of horsemanship, rhetoric and self-love.  Here, he exhibits sprezzatura, the studied casualness of the Renaissance courtier.  

II. Narratio (The Statement of the Facts):   One outlines the basic context for the discourse and the basics of the argument.

Sidney discusses the Roman vates, the Greek maker, and the inspiration of the Psalms.  He stresses that a poet makes a new nature, a Golden World.  He points to the notion of an ideal Cyrus that helps bring forth other Cyruses into the world.

III. Propositio (The Proposition): A sentence that sets forth the entire claim.

"Poetry therefore is an art of imitation, for so Aristotle termeth it in the word mimesis, that is to say , a representing, counterfeiting, or figuring forth -- to speak metaphorically, a speaking picture -- with this end, to teach and to delight."

Divisio (The Division): One distinguishes what will follow, as well as clarifying what will and will not be discussed.

Sidney discusses three kinds of poets in order to stress the dramatic poet he will be examining.

Confirmatio (The Confirmation): One advances the parts of the argument..

Sidney defends the usefulness of poetry by works, for example that it is better than moral philosophy or history at promoting virtue, and that its chief purpose is architechtonike, or the overarching goal of civic virtue, and by parts, detailing the various genres and their lessons.

IV. Refutatio (The Refutation):One answers counterarguments.

Sidney answers four charges against poetry: that one could better spend one's time; that "it is the mother of lies;" that makes one effeminate; that Plato outlawed it from the perfect republic.

[Digression]  Sidney's complaint against the poor state of English poetic practice.

V. Peroratio (The Conclusion): A summary of the discourse and an appeal to the audience's pathos.

"So that since the ever-praiseworthy Poesy is full of virtue-breeding delightfulness . . ."

-- adapted from Robert Kimbrough. Sir Philip Sidney. NY: Twayne, 1971.