Volke-Birke, Sabine. “World History from BC to AD: R.S. Thomas’s Counterpoint”. Literature and Theology 9.2 (1995): 199-226.

Barsetshire: The whole fictional setting of the Island of Sodor (which is supposed to be between the lake district and the Isle of Man). Adaptation Name Change: More of a number change, but in the TV series Class 40 goes from having the number D4711 to having the number D261.Starting in Season 23, the engines became much more detailed, with such things as rivets, handrails, and various other realistic little things that had been missing from the Nitrogen and Arc models. Thomas, Percy and the Coal" may also count. Apart from the first few scenes, the episodes takes place entirely at the Tidmouth complex. The episode is believed to have replaced The Missing Coach, so this was probably done to save time and money. Some recurring engines, like Diesel, only appeared in a handful of stories from The Railway Series, but were given bigger roles in the show.

Due to budget constraints, Flying Scotsman's role from Enterprising Engines is reduced to a brief appearance by his tenders in Series 3's "Tender Engines". 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. Waterman, Rory. Belonging and Estrangement in the Poetry of Philip Larkin, R.S. Thomas and Charles Causley. London: Ashgate, 2014. 220p. ISBN 978-1-4094-7087-8. Perhaps the earliest was the second season's Christmas Episode, "Thomas and the Missing Christmas Tree", where every character introduced at the time (except for Daisy) appeared. Brown, Dennis. “Vernon Watkins and R.S. Thomas”. In British Poetry from the 1950s to the 1990s: Politics and Art, ed. Gary Day and Brian Docherty. London: Macmillan, 1997. pp. 221-36.An episode of Thomas Creator Collective directly criticizes the infamous bridge jump scene in The Great Race McLauchlan, Richard. “R.S. Thomas: Poet of Holy Saturday”. Heythrop Journal 52.6 (Nov. 2011): 976-85. R.S. Thomas and Modern Welsh Poetry”, Cambridge Companion to Twentieth-Century English Poetry. Cambridge: CUP, 2007. ISBN798-0521691321, 05216932X----

In the earlier series, Gordon, James, and Henry say the respective words, "Disgraceful! disgusting! And despicable!" Adaptational Protagonist: While The Railway Series, the source material, has an ensemble cast with no series-wide protagonist, this animated adaptation puts the titular Breakout Character in the spotlight.Bardddas 319 (Haf 2013). Includes “R.S. yn ei filltir” by Gareth Neigwl, pp. 30-32; “R.S. yn cael ei drosi” by Ned Thomas, plus translations of three poems by RST into Welsh, pp. 33-35. Barnie, John, ed. Encounters with R.S. Swansea: H’mm Foundation, 2103. 102 p. ISBN 978-0-9927560-0-0. [Short essays by those who knew him, including Gwyneth Lewis, M.Wynn Thomas, Gillian Clarke, Peter Finch, Jon Gower and Menna Elfyn.]

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 Davies, Grahame. “Resident Aliens: R.S. Thomas and the Anti-Modern Movement”. Welsh Writing in English: A Yearbook of Critical Essays 7 (2001-2002): 50-77. * Selected Poems. Modern Classics. London: Penguin, 2004. 354 p. ISBN 0-140-18890-8. [RST’s own selection of his work, including eighteen previously uncollected poems.] R.S. Thomas: Bardd, Offeiriad”, Beti a’i Phobol-1, gol. Ioan Roberts. Llanrwst: Gwasg Carreg Gwalch, 2002. tud. 71-107. ISBN: 0-86381-810-2. (Sgwrs radio a Beti George)Percy suffers from this on a few occasions, mainly in episodes such as "Put Upon Percy" and "Percy's Chocolate Crunch". Dafydd, Fflur. “‘This is I; there is nothing else’: R.S. Thomas and Hugh MacDiarmid”. Welsh Writing in English: A Yearbook of Critical Essays 11 (2006-2007): 102-121.