{"footnote":"\u003Cp\u003E  Vincent Sherry is the most recent critic to try to make sense of this and other statements by Pound about the British Empire\u0026rsquo;s imbecility, in \u003Cem class=\u0022emphasisClass\u0022\u003EThe Great War and the  Language of Modernism\u003C\/em\u003E (Oxford US, 416 pp., \u0026pound;15.50, May 2004, 0 19 517818 1). Sherry argues that in poems such as \u0026lsquo;Homage to Sextus Propertius\u0026rsquo;, Pound developed a \u0026lsquo;poetics of critical mimicry\u0026rsquo;.  The object of that critical mimicry was the logic \u0026ndash; and the \u0026lsquo;idiom\u0026rsquo; \u0026ndash; of Liberal policy, as articulated in Britain in the years immediately before and during the First World War. Sherry\u0026rsquo;s  hypothesis, established by meticulous readings of a wide variety of texts by Pound, Eliot, Ford, Stein and Woolf, is that Liberal war policy was the provocation to an \u0026lsquo;experimental verbal art\u0026rsquo;.\u003C\/p\u003E\n","audio":[],"video":[]}