This paper explores the role of phonostylistic devices in constructing cultural identity and resistance in the poetry of two Caribbean-British poets Benjamin Zephaniah and John Agard. The study examines how sound patterns contribute to meaning beyond the semantic level. The analysis highlights the poet's international use of Caribbean English, Oral performance traditions and musical cadences to challenge linguistic imperialism and assert post-colonial identity. Employing a qualitative stylistic approach, this paper demonstrates that phonostylistic features in these works are not merely decorative but central to the communicative and ideological power of Caribbean poetry. By foregrounding the aural dimension, the poets reaffirm the legitimacy of Caribbean English and promote cultural hybridity in contemporary poetic discourse.
Obada et al. (Sat,) studied this question.