Dylan Thomas's relationship with radio is marked by an increasingly complex aesthetic response. The broadcasts which he wrote for the B.B.C. demonstrate a progressive refinement of technique and an increasingly original approach to the medium. Under Milk Wood, in many regards, represents the culmination of this broadcasting work; it is a remarkable response to the evocative potentials of radio. But the piece, apart from confirming Thomas's achievement in radio, also provides a unique vehicle for exploring critical treatment of a non-textual form like radio. The critical history of Under Milk Wood emphasises the need for a "form-sensitive" criticism appreciative of the artistic potentials and restrictions of radio. Finally, it is these potentials and restrictions, masterfully explored by Thomas, which can also be seen as exerting a powerful influence on Thomas's own artistic sensibility. The social essence of radio altered Thomas's own artistry.

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