of his day that pays little attention to unity of place in drama, but more specifically, his concern is with the "manner" that the "matter" is conveyed. He explains that tragedy is not bound to history or the narrative but to "laws of poesy," having "liberty, either to feign a quite new matter, or to frame the history to the most tragical conveniency." Sidney employs a number of strategies to assert the proper place of poetry. For instance, he argues against the way in which poetry was misaligned with youth, the effeminate and the timorous. He does so by introducing the idea that “poetry is the companion of camps” and by invoking the heroes of ages past. Sidney's reverence for the poet as soldier is significant because he himself was a soldier at one time. Poetry, in Apology, becomes an art that requires the noble stirring of courage. Sidney writes An Apology for Poetry in the form of a judicial oration for the defense, and thus it is like a trial in structure. Crucial to his defense is the descriptive discourse and the idea that poetry creates a separate reality. Sidney employs forensic rhetoric as a tool to make the argument that poetry not only conveys a separate reality, but that it has a long and venerable history, and it does not lie. It is defensible in its own right as a means to move readers to virtuous action. Sidney's method Censorship is one issue Sidney had to overcome through his use of rhetorical devices in the Apology. Sidney was also versed in the phenomenon of courtiership. As part of his strategy against the threat of censorship, Sidney uses the structure of classical oration with its conventional divisions such as exordium and peroratio. Sidney's use of classical oration stems from his humanist education (Harvey 1). He uses this method to build his argument, by making user of the rhetorical methods in such guides as Thomas Wilson’s Arte of Rhetorique (1553) (Harvey 2). Sidney also uses metaphor and allegory, to conceal and reveal his position. For instance, his use of horsemanship as imagery and analogy substantiates his vision of the transformational power of poetry. Sidney, as author, enters his work undetected in that the etymology of his name “Philip” is “horse-lover” (Pask 7). From the opening discourse on horsemanship, Sidney expands on the horse and saddle metaphor throughout his work by