The second half of Series 3 uses a different set for the interior of Tidmouth Sheds with at least nine berths. The exterior set only had six berths until the sheds were rebuilt in Calling All Engines. Acceptable Breaks from Reality: Episodes occasionally forgo railway realism for the sake of telling a story. One example is "Luke's New Friend". A railway is no place for animals, much less a deer, but Luke befriending the deer works for his character development. In school, we are taught that Thomas’ is the proper way to write about something that belongs to Thomas. However, language is always developing and making changes, which is why this form isn’t used as often as it used to be. In the song "Will You, Won't You" from The Great Race, most of the engines who are currently in the show get a singing role. Buried to be Dug Up: R.S. Thomas (1913-2000)”, Twentieth-Century Autobiography, Writing Wales in English. Cardiff: U. of Wales P, 2004., pp. 120-47. ISBN 0-7083-1891-6

Wales: a problem of translation. The 1996 Adam Lecture, given on 8 February 1996 at King’s College, London. London: Centre for 20th Century Cultural Studies, Adam Archive Publications, 1996. 18 p. ISBN: 1-897747-08-X. McLauchlan, Richard. “R.S. Thomas: Poet of Holy Saturday”. Heythrop Journal 52.6 (Nov. 2011): 976-85. Ringless Fingers. Bangkapi, Thailand: Frangipani P., 2002. [Collection of family poems, published by Gwydion Thomas, in a private limited edition.] A.I. Is a Crapshoot: These trains have personality issues. Not to mention the ridiculous amounts of crashes that they seem to get into. (See Incompetence, Inc. below) Elsbridge Station has never been seen since Season 4, and Great Waterton hasn't been seen since Season 12.Sully, A.C. The Poet, The Priest, the Politician: R.S. Thomas as Romantic Poet, Existentialist and Welsh Nationalist. M.Phil. thesis. University of Birmingham, 1995. Gramich, Johannes. “R.S. in Munich”. New Welsh Review no. 54 (Autumn 2001): 20-23. [R.S. Thomas’s reception in the German-speaking world.] Many of the feature-length specials have more actionized plots and involve the characters getting into mortal peril. Tale of the Brave is quite possibly the shining example of it, being the most dramatic and emotional special to date. Shepherd, Elaine. R.S. Thomas: Conceding an Absence : Images of God Explored. London: Macmillan, 1996. 216 p. ISBN: 0-333-64968-0. Season 21's "The Fastest Red Engine on Sodor" has James find out about Rosie's new red livery for the first time, and also has him crash into Tidmouth Sheds. And because of the damage he caused, in the following episode, "A Shed for Edward", Edward has to stay in other sheds, until he chooses to move to a shed at Wellsworth permanently. However, Journey Beyond Sodor has James meet Rosie in her new livery again, yet Edward is once again staying at Tidmouth Sheds without explanation.

In her ashen studio. Chang Mai, Thailand: Fangipani P., 2013. [Selection of poems by RST, mainly to his wife, Elsi Eldridge, and illustrated by numerous reproductions of her work, published by Gwydion Thomas, in a private limited edition] For the Failure of Language There is No Redress’: R.S. Thomas, Poetry and Prayer”, Ecstasy and Understanding: Religious Awareness in English Poetry from the Late Victorian to the Modern Period, ed. Adrian Grafe. London: Continuum, 2008. ISBN 978-0-82649-864-9 The “dead” of his past, the summer days he can no longer access, remind him of his life and his relationship with the world. The episodes—and until Hero of the Rails, the characters' dialogue as well—are told through a narrator, initially Ringo Starr. Following Starr's departure in 1990, the UK and US dubs acquired distinct narrators, with George Carlin, Alec Baldwin and, ultimately, Michael Brandon wielding the role for US audiences, while the UK dub consistently retained Michael Angelis as narrator. For series 17, both Angelis and Brandon were replaced by Mark Moraghan, reunifying both English dubs' narration for the first time in decades; Moraghan would hold the (progressively less prominent) role until series 22, in which the omniscient narrator was finally eliminated entirely in favour of Thomas framing each episode through Breaking the Fourth Wall. In Search of Something Chance Would Never Bring’: The Poetry of R.S. Thomas and Edward Thomas”. Review of English Studies vol. 59, No. 241 (Sept. 2008): 582-603.Pezzini, Domenico. “Tra Assenza e Presenza: La Via a Dio nella Poesia di R.S. Thomas e E. Jennings”. Studi di Teoria e Storia della Lettetatura e della Critica. 32 (Luglio-Dic., 1996): 125-43.

Walsh, Carys. Language as a Barrier and a Threshold in the Poetry of R.S. Thomas. M.A. dissertation. Heythrop College, University of London, 2000. Percy suffers from this on a few occasions, mainly in episodes such as "Put Upon Percy" and "Percy's Chocolate Crunch".

This was even pulled in the books, with the Fat Controller running the standard railway, the Thin Controller running the narrow-gauge railway, and the Small Controller running the small railway. Subverted in that the Small Controller is actually taller than either of the other two. Harvey's crane, Peter Sam's special funnel, and Sir Handel's wheels all caused them to be bullied by their peers — although Sir Handel's wheels make him egotistical until the events of "Steam Roller".

Hooker, Jeremy. “Sacred Land: Patriotic Feeling in the Poetry of R.S. Thomas and Geoffrey Hill”, International Journal of Welsh Studies 1 (2013): 60-80. While I love Thomas's poetry, I read "Words" with mixed feelings. I especially wonder why, at the end, this most scrupulous of poets seems to distance himself from his vocation – in the line "As poets do"? It might be a wry little joke, I suppose, meant to raise a smile from an admiring friend, like Gwili or Frost. (Both would certainly have approved of the insight that the poet is both "fixed and free" when he rhymes.) But the last stanza becomes more credible if you imagine that Thomas is continuing to ask the really pressing question: will America cost him his identity, not only his Welshness and Englishness, but his identity as a poet? Yeats Said That’: R.S. Thomas and W.B. Yeats”. Almanac: Yearbook of Welsh Writing in English 13 (2008-9): 1-26. David Jones Journal Summer/Autumn 2001 (R.S. Thomas Special Issue). Includes: “A Parish Priest” by A.M. Allchin, pp. 84-5; “Priest of Aberdaron” by Christopher Armstrong, pp. 87-90; “R.S. Thomas in conversation with Molly Price-Owen, pp. 93-102; “Am I under regard?”, Wil Rowland interviewed about R.S. Thomas” by Jason Walford Davies, pp. 103-110; “R.S.Thomas: Words, Pictures and Fine Books” by David Blamires, pp.116-20. “The Death of R.S.Thomas” by Tony Conran, pp. 121-22; “Tea with R.S.: An American Memory of R.S. Thomas” by William Greenway, pp. 137-41.with other tributes in prose poetry and graphics, including colour reproductions of portraits of RST.

The confusion of these two words comes from what we were taught to write versus how we say things. In school, it is common to be taught to write Thomas’ when talking about something that belongs to Thomas. When we are talking, we say Thomas’s when referring to something that belongs to Thomas. While both are technically correct, the main difference is in the required style guide. This is what art could do’: An Exercise in Exegesis --R.S. Thomas’s Souillac: Le Sacrifice D’Abraham”, Religion and the Arts, vol. 4, no. 3 (2000): 374-97. He mentions the fact that this was his “thirtieth / Year to heaven.” He has risen as close to paradise as he would ever get in his life. The speaker has left the autumn weather that surrounds and contains the “town below” and has gone somewhere for his birthday, to a dreamland of warmth, joy, and childhood. In the final lyrics, he requests that his delight remain on the hill and be sung “in a year’s turning.” Critical Interpretation of The Poem Ward, Jean. “Wounded Faith: R.S. Thomas, Tomas Halik, and Doubting Thomas”, Literature and Theology 27.4 (December 2013): 430-51. Elangovan, S.P. R.S. Thomas and W. B. Yeats: Polarities on the Axis of Poetry. Ph.D. thesis. Madras University, 2005.