Sidney was our first writer of poetic prose.  The poet Drayton says that he

                            did first reduce
  Our tongue from Lyly’s writing, then in use,
  Talking of stones, stars, plants, of fishes, flies,
  Playing with words and idle similes.

Sidney was certainly no Euphuist, but his style was as “Italianated” as Lyly’s, though in a different way.  His English was too pretty for prose.  His “Sidneian showers of sweet discourse” sowed every page of the Arcadia with those flowers of conceit, those sugared fancies which his contemporaries loved, but which the taste of a severer age finds insipid.  This splendid vice of the Elizabethan writers appears in Sidney, chiefly in the form of an excessive personification.  If he describes a field full of roses, he makes “the roses add such a ruddy show unto it, as though the field were bashful at his own beauty.”  If he describes ladies bathing in the stream, he makes the water break into twenty bubbles, as “not content to have the picture of their face in large upon him, but he would in each of those bubbles set forth a miniature of them.”  And even a passage which should be tragic, such as the death of his heroine, Parthenia, he embroiders with conceits like these:  “For her exceeding fair eyes having with continued weeping got a little redness about them, her round sweetly swelling lips a little trembling, as though they kissed their neighbor Death; in her cheeks the whiteness striving by little and little to get upon the rosiness of them; her neck, a neck of alabaster, displaying the wound which with most dainty blood labored to drown his own beauties; so as here was a river of purest red, there an island of perfectest white,” etc.

The Arcadia, like Euphues, was a lady’s book.  It was the favorite court romance of its day, but it surfeits a modern reader with its sweetness, and confuses him with its tangle of adventures.  The lady for whom it was written was the mother of that William Herbert, Earl of Pembroke, to whom Shakspere’s sonnets are thought to have been dedicated.  And she was the subject of Ben Jonson’s famous epitaph.

  Underneath this sable herse
  Lies the subject of all verse,
  Sidney’s sister, Pembroke’s mother;
  Death, ere thou hast slain another
  Learn’d and fair and good as she,
  Time shall throw a dart at thee.

Sidney’s Defense of Poesy composed in 1581, but not printed till 1595, was written in manlier English than the Arcadia, and is one of the very few books of criticism belonging to a creative and uncritical time.  He was also the author of a series of love sonnets, Astrophel and Stella, in which he paid Platonic court to the Lady Penelope Rich (with whom he was not in love), according to the conventional usage of the amourists.