The poem possesses many confusing paradoxes, it is dominated by paradox. With all these features Shelley's intentions no longer seem to be clear. However, when all of them are put together, it can be seen that the negative and cynical aspects of the poem serve to make «To the Men of England» not just a cry of empowerment, but an urgent, stirring call to action for the labourers of he country.

The first paradox arises in lines seven and eight:

«Those ungrateful drones who would

Drain you sweat-nay, drink your blood!»

In these lines the author refers to the lords of workers as «ungrateful drones». A drone is defined as a male bee that neither works nor does any harm, because it is stingless. So, this part undermines the power of the workers' lords, insults them and makes a mockery at them. However, the idea of lords being harmless and lazy is immediately followed by a very disturbing statement «drink your blood», which changes the tone of the message completely. Not only do the lords have power to drain the sweat out of workers, but they drink their blood! The lords are compared to vampires, immortal bloodsuckers who render their victims powerless and dead.

The same paradoxical idea appears throughout the poem. The author treats the lords as tyrants in lines four and twenty-one, indicating their powers as absolute. At the same time he calls them «stingless drones» in lines eleven and idle in line twenty-three, rendering them powerless and ridiculous.

So, what are the lords? How does the poet want the reader to see them? Are they powerless, lazy drones or tyrannical, immortal vampires, sucking the blood and life out of their victims?

Solving another mystery of the poem can answer these questions. In the last two stanzas the poem takes a dramatic turn. The poet shifts from commanding the workers to work for themselves and overthrow their tyrants to hide in their cellars, holes and cells (line twenty-five) and to build their graves. But the last stanza seems to insult the workers and to surrender hope for them. It ends the poem in a dreary note, telling the workers to «Trace your grave and build your tomb, And weave your winding-sheet till fair, England be your sepulcher.» (lines thirty to thirty-two). Now, it seems as if the author has been insulting the workers all along. He tells them that they allow themselves to be bullied by lazy, harmless men so that they may as well just build their own graves. His language shifts from romantic and sensitive in the beginning of the poem, to harsh, dark monosyllabic words, like «with plough and spade and hoe and loom, Trace your grave and build your tomb» in the last stanza. Thus, the author delivers the hammering effect. As a result, the last stanza creates a sense of urgency and anger, making its message stand out from the rest of the poem.

So, has the poem been trying to empower workers all along or has it been contemptuously criticizing them? The answer is actually both. Though the last stanza serves to offset the rest of the poem, it doesn't overpower the initial message of the empowerment. Instead, it actually emphasizes the message. Throughout the beginning of the poem, the author is really pointing out the way things are. He recognizes the absurdity and unfairness of things. Then, in the middle he tells the workers how it should be:

«Sow seed-but let not tyrant reap;

Find wealth, - let no imposter heap;

Weave robes, - let not the idle wear;

Forge arms, - in your defence to bear.» (lines twenty-one to twenty-four).

And finally, the last stanzas come. The last two stanzas again tell the workers of how things are:

«Ye see The steel ye tempered glance on ye». (lines twenty-seven to twenty-eight).

Basically, he tells the workers that they are digging their own graves by giving power to their initially harmless lords. Here, commanding them to dig their graves is different from the commands he gave them in lines twenty-one to twenty-four. By telling them to dig their graves, he is simply telling them what is going to happen if they continue to live with how things are.

What is actually happening is a juxtaposition of two ideas: of how things are, how things should be, and how things are again. In this way, the poet successfully delivers an image, a message. He successfully shows the contrast between the two ideas by sandwiching one inside the repetitions of the other. The middle idea, lines twenty-one to twenty-four, which is that of empowerment, then becomes like a bright, red flower sticking out amidst a dark, dreary landscape of reality. Furthermore, the last stanzas delivering the final repetition of the initial imagery are so dark and urgent with a hint of insult that it stirs the emotion of the reader. A worker reading the poem would have been angered by the last stanza and be stirred to follow true message of the poem in order to prevent the ending from becoming a reality.

2.3 The analysis of the song «To The Men of England» from the point of view of stylistic phonetics

The stylistic analysis of the Shelley's song «To the Men of England» will be better understood with the help of the following table:

Having analyzed the song «To the Men of England», it can be said that he possesses a great mastery, expressing it through the use of the phonetic stylistic devices and expressive means. Through his strikingly beautiful prose and poetry he conveys a message of hope and aspiration, though he has been criticized for his obscure symbolism and arrogance.

In this song Shelley pays special attention to rhymes, especially to full or perfect rhymes, and also to alliteration. With the help of alliteration he makes his stanzas sound imperative and also gives them a colouring of bitter irony. The rhyming scheme of the poem is couplet, which is the most melodical one. [9]

All phonetic expressive means, used by Shelley in the poem, were introduced with the help of syntactical stylistic devices and graphical means.

There are imperfect compound rhymes in the two first stanzas and in the last one. These compound or broken rhymes produce an effect of sinister warning.

There is no cases of direct or indirect onomatopoeia in the poem, but the choice of sounds, especially of consonants [w], [r], [s] makes the poem sound loom and sinister and on the same time quite melodically, so it is even called song.

Throughout the poem the archaic form of the pronoun «ye» was used. The use of this archaic form makes the atmosphere of the poem more solemn and also produces a certain melodical effect, since the sound [i] repeats quite often throughout it.

The results of the investigation of the poem can be seen in Supplement №2.

Conclusion

So, the poem «To the Men of England» was investigated from the point of view of the most widely used expressive means and stylistic devices, with the help of the works of different linguists and phoneticians, both Russian and foreign. After this investigation the following summaries can be made:

- Among all the stylistic devices and expressive means, the phonetic ones are the most powerful, because they can produce any emotional effect that an author wishes, they can add solemnity or severity to an utterance or make it imperative, loom or worrying, or, on the contrary, gentle and pleasant.

- Phonetic expressive means, such as intonation, stresses, pitch of the voice or speech tempo and tamber are mainly introduced in oratory speech or while reading aloud and they are considered to be changeable ones. That's why in writing one can come across only phonetic stylistic devices. Phonetic expressive means are introduced in writing with the help of syntactical stylistic devices of different repetitions, rhetorical questions, parallel constructions and so on, and also with the help of graphical means of exclamation and question marks, commas, dashes and points. That's why sometimes authors introduce their own, authors' punctuation, aiming at emphasizing the thoughts or points they want the reader to pay special attention to or to think about.

- Speaking about Shelley' works, their mastery through the use of the phonetic stylistic devices can not be denied. Through his strikingly beautiful prose and poetry he conveys a message of hope and aspiration, though he has been criticized for his obscure symbolism and arrogance.

- In the song «To the Men of England» Shelley pays special attention to rhymes, especially to full or perfect rhymes, and also to alliteration. With the help of alliteration he makes his stanzas sound imperative and also gives them a colouring of bitter irony. The rhyming scheme of the poem is couplet, which is the most melodical one. [9]

- There are imperfect compound rhymes in the two first stanzas and in the last one. These compound or broken rhymes produce an effect of sinister warning.

- There is no cases of direct or indirect onomatopoeia in the poem, but the choice of sounds, especially of consonants [w], [r], [s] makes the poem sound loom and sinister and on the same time quite melodically, so it is even called song.

- Throughout the poem the archaic form of the pronoun «ye» was used. The use of this archaic form makes the atmosphere of the poem more solemn and also produces a certain melodical effect, since the sound [i] repeats quite often throughout it.

So, it is obvious that the sound of most words taken separately will have little or no aesthetic value. It is in combination with other words that a word may acquire a desired phonetic effect. The way a separate word sounds may produce a certain euphonic effect, but this is a matter of individual perception and feeling and therefore subjective. Thus the theory of sense - independence of separate sounds is based on a subjective interpretation of sound associations and has nothing to do with objective scientific data. However, the sound of a word, or more exactly the way words sound in combination, can not fail to contribute something to the general effect of the message, particularly when the sound effect has been deliberately worked out. This can easily be recognized when analyzing alliterative word combinations or the rhymes in certain stanzas or from more elaborate analysis of sound arrangement and from this work it is clear that the works by Percy Bysshe Shelley can be a very good example of it.

Although the importance and significance of the stylistic phonetics is obvious, still there is no clear definition of it, may be because of the extensiveness of the studied subjects and their ambiguousness. Professor Seymour Chatman introduces the term «phonostylistics» and defines it as a subject the purpose of which is «the study of the ways in which an author elects to constrain the phonology of the language beyond the normal requirements of the phonetic system. "[8] As can be inferred from this quotation, phonetic expressive means and particularly phonetic stylistic devices are not deviations from «the normal requirements of the phonetic system» but a way of actualizing the typical in the given text. [8]

Because of the ambiguousness of the subjects of stylistic phonetics, some authors prefer even not to enumerate phonetic stylistic devices, considering them quite similar and interdependent, for example I. Arnold. She states that on all levels, especially on the phonetic one, all expressive means and stylistic devices are united by the cohesion. She defined cohesion as «similar elements in `similar position that make text coherent. This phenomenon may occur on different levels - phonetic, structural or semantic.» [1] Her concept is very interesting and really unconventional, but this work was made following the more generally accepted concepts of I.R. Galperin. The use of his concepts of stylistics and the idea of stylistic phonetics allowed making a thorough analysis of the Shelley's song «To the Men of England» and understanding on its examples the ways of imparting a piece of work a strong emotional effect with the help of the sound features. It is necessary for the points of stylistic phonetics to be investigated further.

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