Como achar verbo em um texto?

Pessoa alguém pode me dizer como acho verbos neste texto?, desde já agradeço
Monday, Mar. 09, 2009
Is This What Shakespeare Looked Like?
By Richard Lacayo
We all know what William Shakespeare looked like: similar to a hippie uncle — balding, moustached,
longish hair in back. How do we know? Mostly from an engraving by Martin Droeshout that appeared
with the First Folio, the collection of Shakespeare’s work that was published in 1623, seven years
after his death. That engraving is reproduced with almost every edition of Shakespeare that offers
a picture of him.
But engravings are typically copied from another source, like a drawing or painting. Shakespeareans
have been tantalized for generations by the possibility that a genuine life portrait of the man survives
somewhere. Now Stanley Wells, professor emeritus of Shakespeare Studies at Birmingham University
and one of the world’s most distinguished Shakespeare scholars, says he has identified one. Wells
is convinced that an oil painting on wood panel that has rested for centuries in the collection of an
old Irish family was painted from life around 1610, when Shakespeare was 46. If that’s so, it would
be the only true likeness we have of the greatest writer of the English language.
The painting has languished for centuries outside Dublin at Newbridge House, home base of the
Cobbe family, where until recently no one suspected it might be a portrait of the Bard. Three
years ago, Alec Cobbe, who had inherited much of the collection in the 1980s and placed it in
trust, found himself at an exhibition at the National Portrait Gallery in London called “Searching for
Shakespeare.” There he saw a painting from the Folger Shakespeare Library in Washington, D.C.,
that had been accepted until the late 1930s as a portrait of Shakespeare from life. Looking at it,
Cobbe felt certain the Folger painting was a copy of the one in his family’s collection. He asked
Wells, an old friend, for his help in authenticating it.
The two men arranged to have the Cobbe painting subjected to a battery of scientific tests —
tree-ring-dating to determine the age of the wood panel, X-ray examination at the Hamilton-
Kerr Institute at Cambridge University and infrared reflectography. The tests produced convincing
evidence that the panel dated from around 1610 and was the source for the Folger painting, among
others. Wells is now sure of it. “I don’t think anyone who sees [the Cobbe painting] would doubt this
is the original,” he says. “It’s a much livelier painting, a much more alert face, a more intelligent
and sympathetic face.”
It also matters that the Cobbe painting seems to have been copied more than once. (Wells believes
the famous Droeshout engraving was made from one of these copies and not the Cobbe original.)
In addition to the Folger, there appear to be three other versions, all from the 17th century. “It
suggests that this is someone who was famous enough that there was a demand for copies,” says
Wells. “We have a fascinating reference in a play from 1603 in which there is the character of a
young man who was obviously a fan of Shakespeare. He quotes bits of Romeo and Juliet and is
rather foolish. And he says the line: ‘Sweet master Shakespeare, I have his picture in my study at
the court.’ That also shows that there was likely to be a demand for his portrait.”
And how will the Cobbe painting change our picture of Shakespeare? For one thing, it shows us
a man of substance. Although Shakespeare came from relatively humble beginnings — his father
was a glovemaker — he ended up a wealthy man. “The Cobbe portrait will show people a man who
was of high social status,” says Wells. “He’s very well dressed. He’s wearing a very beautiful and
expensive Italian lace collar. A lot of people have the wrong image of Shakespeare, and I’m pleased
that the picture confirms my own feelings — this is the portrait of a gentleman.”
In April, the Cobbe painting will go on display for several months at the Shakespeare Center
in Stratford-on-Avon. After that it will return to the Cobbe family trust. Wells says that, to his
knowledge, the family has no plans to sell the painting.
The Cobbe collection includes works handed down from the family of the third Earl of Southampton,
Shakespeare’s only known patron. (The Bard made most of his money the hard way, by running a
theater company.) Shakespeare dedicated to the earl both of his long-narrative poems, Venus and
Adonis in 1593 and The Rape of Lucrece in 1594. The second inscription is particularly intimate:
“The love I dedicate to your lordship is without end ...”
This is one of several reasons that the earl, who was 10 years younger than Shakespeare, is often
supposed to be the “fair youth” who turns the poet’s head in some of Shakespeare’s sonnets. How
fair? A painting of the long-haired earl at 19, also in the Cobbe family collection, was mistaken
for many years as a portrait of a young woman. And though the earl later married and fathered
children, there is a letter written about him during his participation in the Irish wars that alludes to
a sexual relationship between him and one of his captains.
Wells mentions a rumor dating back to the 18th century that the earl once gave Shakespeare a
thousand pounds, possibly to allow the Bard to purchase the second largest house in Stratfordon-
Avon. That would be an extraordinary amount of money even from a patron who was, as Wells
describes him, “very rich and very generous, almost profligate.” But if the rumor is true, it might be
another sign of the very high regard that the earl had for his favored poet. “This rumor has often
been discounted,” says Wells. “In one of my own books, I said it was ridiculous. But I’m beginning
to have a bit more faith in it.”
It hasn’t been established whether the Cobbe portrait is one of the paintings that came to the family
via the earl, though Wells believes the evidence is strong that it is. But if so, that inevitably invites
speculation that the earl might have commissioned it. Could it even have been a keepsake for
himself, a memento of his loving — maybe very loving — admirer? (Disponível em: <http://www.
time.com/time/arts/article/0,8599,1883770,00.html>. Acesso em: 10 mar. 2009).