You're welcome to analyse the text "THREE MEN IN A BOAT" taking into consideration the following relevant aspects:
I. the preliminary word
✓ write three sentences concerning the author of the text under analysis (you may dwell upon the author's creative work, find some noteworthy and curious facts about the author's life, share your personal impressions of the author's books you've read or films you've watched in Russian or English);
✓ consider the title of the text under analysis paying special attention if the title is revealing or misleading (prove your ideas and give reasons);
✓ describe the topic of the text under analysis;
✓ formulate the problems tackled by the author in the text under analysis;
✓ formulate the author's message of the text under analysis or its main idea;
✓ give the summary of the text under analysis (these papers may be supportive and valuable: "How to Write a Good Summary" and "ENGLISH EXCELLENT PARAGRAPHS: Writing Skills");
✓ describe the atmosphere of the text under analysis dwelling upon the prevailing mood of each logically complete part;
✓ give a concise linguistic outline of the text under analysis focussing on the following constructive elements: 
✓✓ the author's / the narrator's presence in the text under analysis, 
✓✓ the correlation between dialogues and descriptions in the text under analysis, 
✓✓ the choice of author's words, the peculiarities of climax, 
✓✓ the peculiarities syntactic sentence structures, the prevailing stylistic devices employed by the author in the text under analysis, 
✓✓ any linguistic remarks you find relevant;
✓ divide the text under analysis into several logically complete parts and suggest your own creative title to each logically complete part;
II. the first logically complete part starts with the words <...> and ends in the words <...>; 
✓ I titled this part <...> because (retell the part in 2-3 sentences);
✓ this content is accompanied by a certain atmosphere which can be defined as <...>;
✓ the atmosphere is created by a number of stylistic devices <...> (the paper "The List of Stylistic Devices & Expressive Means Necessary for Text Analysis" may be may be supportive and valuable);
✓✓ if you mention a certain stylistic device employed by the author in the text under analysis, you should be able to explain and describe its stylistic effect and value;
✓✓ if you feel the lack of expressive and eloquent vocabulary, you are welcome to borrow some from the paper "Vocabulary and the Structure of Text Analysis";
✓✓ in your analysis you're expected to use collocations from English idioms describing personality / character and colourful vivid adjectives from the paper "37 English Words For Describing A Person’s Appearance";
We got out at Sonning,' and went for a walk round the village. It
fairy-like nook on the whole river. It is more like a stage
village than one built of bricks and mortar. Every house is smoth-
ered in roses, and now, in early June, they were bursting forth in
clouds of dainty splendour. If you stop at Sonning, put up at the
"Bull", behind the church. It is a veritable picture of an old country
inn, with a green, square courtyard in front, where, on seats be-
neath the trees, the old men group of an evening to drink their ale
and gossip over village politics; with low quaint rooms and latticed
windows? and awkward stairs and winding passages.
We roamed about sweet Sonning for an hour or so, and then,
it being too late to push on past Reading.' we decided to go back to
one of the Shiplake islands, and put up there for the night. It was
still early when we got settled and George said that, as we had
plenty of time, it would be a splendid opportunity to try a good,
slap-up supper. He said he would show us what could be done up
the river in the way of cooking, and suggested that, with the vege-
tables and the remains of the cold beef and general odds and ends,
we should make an Irish stew.*
It seemed a fascinating idea. George gathered wood and made
a fire, and Harris and I started to peel the potatoes. I should never
have thought that peeling potatoes was such an undertaking
The job turned out to be the biggest thing of its kind that I had eve
been in. We began cheerfully, one might almost say skittishly but
our light-heartedness was gone by the time the first potato was fin-
ished. The more we peeled, the more peel there seemed to be
left on; by the time we had got all the peel oft and all the eyes out,
there was no potato left - at least none worth speaking of. George
came and had a look at it - it was about the size of pea-nut. He
said:
"Oh, that won't do! You're wasting them. You must scrape
them.
So we scraped them and that was harder work than peeling.
They are such an extraordinary shape, potatoes - all bumps and
warts and hollows. We worked steadily for five-and-twenty min-
utes, and did four potatoes. Then we struck. We said we should re-
quire the rest of the evening for scraping ourselves.
I never saw such a thing as potato-scraping for making a fellow
in a mess. It seemed difficult to believe that the potato-scrapings in
which Harris and I stood, half-smothered, could have come off four
potatoes. It shows you what can be done with economy and care.
George said it was absurd to have only four potatoes in an Irish
stew, so we washed half a dozen or so more and put them in with-
out peeling. We also put in a cabbage and about half a pecks of
peas. George stirred it all up, and then he said that there seemed to
be a lot of room to spare, so we overhauled both the hampers, and
picked out all the odds and ends and the remnants, and added
them to the stew. There were half a pork pie and a bit of cold boiled
bacon left, and we put them in. Then George found half a tin of
potted salmon, and he emptied that into the pot.
He said that was the advantage of Irish stew: you got rid of such
a lot of things. I fished out a couple of eggs that had got cracked,
and we put those in. George said they would thicken the gravy.

Юля, [11.11.2024 15:46]
I forget the other ingredients, but I know nothing was wasted;
and I remember that towards the end, Montmorency, who had
evinced great interest in the proceedings throughout, strolled
away with an earnest and thoughtful air, reappearing, a few min-
utes afterwards, with a dead water-rat in his mouth, which he evi-
dently wished to present as his contribution to the dinner;
whether in a sarcastic spirit, or with a general desire to assist,
I cannot say.
We had a discussion as to whether the rat should go in or not.
Harris said that he thought it would be all right, mixed up with the
other things, and that every little helped; but George stood up for
precedent! He said he had never heard of water-rats in Irish stew,
and he would rather be on the safe side, and not try experiments.
Harris said:
"If you never try a new thing how can you tell what it's like? It's
men such as you that hamper the world's progress. Think. of the
man who first tried German sausage!"
It was a great success, that Irish stew. I don't think I ever en-
joyed a meal more. There was something so fresh and piquant
about it. One's palate gets so tired of the old hackneyed things:
here was a dish with a new flavour, with a taste like nothing else
on earth.
And it was nourishing, too. As George said, there was good stuff
in it. The peas and potatoes might have been a bit softer, but we all
had good teeth, so that did not matter much; and as for the gravy,
it was a poem - a little too rich, perhaps, for a weak stomach,
but nutritious.