【 – 字数作文】
我最喜的作家400字(一)
我最喜爱的作家
偶然的邂逅，注定的缘分。
我最喜爱的作家——夏洛蒂·勃朗特
第一次认识到夏洛蒂·勃朗特是因为一部作品——《简·爱》
出生于英国北部约克郡的豪渥斯的一个乡村牧师家庭，母亲因癌症而离开了夏洛蒂，因为家里的贫穷夏洛蒂只好被送到一所专收神职人员孤女的慈善性机构——柯文桥女子寄宿学校。在学校的艰苦的生活也为她以后的事业提供很好的题材。
虽然夏洛蒂的作品不多，但是《简·爱》却是我最喜爱的一部作品。《简·爱》是用简爱自叙的方式描叙了一个受尽折磨、凌辱的孤儿的故事，也是夏洛蒂·勃朗特"诗意的生平"的写照，是一部具有自传色彩的作品。
简·爱是个孤儿，从小寄养在舅母家中，后来进了慈善学校洛伍德孤儿院，但是简爱无论是在舅母家中还是在孤儿院，等待她的只有痛苦。也就因为如此才使简爱拥有无限的信心和坚强不屈的精神。
简爱通过自己顽强的意志以优秀成绩完成了学业。后来在担任家庭教师是却喜欢罗切斯特。虽然简爱的身份低微，但是她却勇敢的追求属于自己的爱情。虽然她在罗切斯特面前只是身份低贱的家庭教师也因此感到自卑，但是她此终认为她们是平等的，她也能受到别人的尊重。正因为她的正直,高尚,纯洁,心灵没有受到世俗社会的污染.使得罗切斯特感到自惭形秽,同时对她肃然起敬,并深深地爱上了她。虽然经历了许多磨难，但苦难正证明了她们至死不渝的爱情，也因为他们悬殊的社会地位和个性的差异而充满了激烈碰撞，也因两人志趣相同、真诚相爱而迸发出灿烂的火花。
简·爱是，一个对自己的思想和人格有着理性认识的女性，一个对自己的幸福和情感有着坚定追求的女性，一个不再只是盲从于世俗要求的女性，一个对自己的价值和情感做出了独立判断的女性，一个坚强独立的女性。夏洛蒂·勃朗特创造了一个前所未有的女性形象；简·爱发出了一个属于女性自己的声音——对于平等、独立、完整、自由的坚持和追求。 《简·爱》所展现给我们的是一种返朴归真，一种勇于追求爱情的感觉，是一种不计得失简化的感情。
夏洛蒂对理想的追求也全然融入自己的作品中。 我最喜爱的作家——夏洛蒂·勃朗特
我最喜的作家400字(二)
我最喜欢的一位作家
每个人的心中都会有一个自己最喜欢的作家，当然，我也不例外。我最喜欢的一位作家是世界著名的童话作家——安徒生。
安徒生出生在丹麦的一个非常贫困的贫民区。因为生活环境的贫苦，所以安徒生在从小就被贫困所折磨。为了生活，安徒生从小就做过很多家店铺的鞋徒，一直没有受过正宗的教育，但是他却有自己远大的理想，通过自己的不懈的努力，终于成为了一名世界著名的童话大师。
我非常喜欢安徒生的童话作品，他表现出了人们对美好生活的追求。例如：在《拇指姑娘》中，小姑娘不原和鼹鼠生活在泥土中，她跟着燕子飞到花的国度，那里有许多小精灵在花丛中飞翔。这才是拇指姑娘喜欢的地方！于是她嫁给了那儿的国王，过上了幸福的生活。
安徒生童话也表达出了小朋友的纯真童心和美好幻想。再如在《小意达的花儿》里，花儿和玩具一起参加了欢乐的晚会。第二天，花儿都死了。小意达知道那是因为它们跳舞累了，于是她给花儿举行了小小的葬礼。许多小朋友不也是这样善良而天真吗？
安徒生的童话流淌着诗一般的灵气，闪现着画一般的绮丽，能让小朋友在有趣的童话中受到艺术的熏陶所以我非常地喜欢安徒生的童话作品。
我最喜的作家400字(三)
Longfellow wrote predominantly lyric poems, known for their musicality and often presenting stories of mythology and legend. He became the most popular American poet of his day and also had success overseas. He has been criticized, however, for imitating European styles and writing specifically for the masses.
In his senior year, Longfellow wrote to his father about his aspirations: “I will not disguise it in the least… the fact is, I most eagerly aspire after future eminence in literature, my whole soul burns most ardently after it, and every earthly thought centres in it… I am almost confident in believing, that if I can ever rise in the world it must be by the exercise of my talents in the wide field of literature.”[13]
He pursued his literary goals by submitting poetry and prose to various newspapers and magazines, partly due to encouragement from a professor named Thomas Cogswell Upham.[14] Between January 1824 and his
graduation in 1825, he had published nearly 40 minor poems.[15] About 24 of them appeared in the short-lived Boston periodical The United States Literary Gazette.[12] When Longfellow graduated from Bowdoin, he was ranked fourth in the class, and had been elected to Phi Beta Kappa.[16] He gave the student commencement address.[14]
Longfellow considered moving to New York after New York University
considered offering him a newly created professorship of modern languages, though there would be no salary. The professorship was not created and Longfellow agreed to continue teaching at Bowdoin.[28] It may have been joyless work. He wrote, "I hate the sight of pen, ink, and paper… I do not believe that I was born for such a lot. I have aimed higher than this".[29] he further studied German as well as Dutch, Danish, Swedish, Finnish, and Icelandic
Three years later, he was inspired to write the poem "Footsteps of Angels" about her. Several years later, he wrote the poem "Mezzo Cammin" expressed his personal struggles in his middle years
Mezzo Cammin
Half my life is gone, and I have let
The years slip from me and have not fulfilled
The aspiration of my youth, to build
Some tower of song with lofty parapet.
Not indolence, nor pleasure, nor the fret
Of restless passions that would not be stilled,
But sorrow, and a care that almost killed,
Kept me from what I may accomplish yet;
Though, half-way up the hill, I see the Past
Lying beneath me with its sounds and sights,–
A city in the twilight dim and vast,
With smoking roofs, soft bells, and gleaming lights,–
And hear above me on the autumnal blast
The cataract of Death far thundering from the heights.
The title refers to the opening of one of the most famous poems in literature: La Divina Commedia (The Divine Comedy)
Dante Alighieri
A small collection, Poems on Slavery, was published in 1842 as Longfellow's first public support of abolitionism. However, as Longfellow himself wrote, the poems were "so mild that even a Slaveholder might read them without losing his appetite for breakfast".[54] A critic for The Dial agreed, calling it "the thinnest of all Mr. Longfellow's thin books; spirited and polished like its forerunners; but the topic would warrant a deeper tone".[55] The New England Anti-Slavery Association, however, was satisfied with the collection enough to reprint it for further distribution.[56]
In 1854, Longfellow retired from Harvard,[65]devoting himself entirely to writing. He was awarded an honorary doctorate of laws from Harvard in 1859.[66]
Much of his work is recognized for its melody-like musicality.[92] As he says,
"what a writer asks of his reader is not so much to like as to listen".[93] Longfellow often used didacticism in his poetry, though he focused on it less in his later years.[96] Much of his poetry imparts cultural and moral values, particularly focused on promoting life as being more than material pursuits.[97] Longfellow also often used allegory in his work. In "Nature", for example, death is depicted as bedtime for a cranky child.[98] Many of the metaphors he used in his poetry as well as subject matter came from legends, mythology, and literature.[99] He was inspired, for example, by Norse mythology for "The Skeleton in Armor" and by Finnish legends for The Song of Hiawatha.[100] In fact, Longfellow rarely wrote on current subjects and seemed detached from contemporary American concerns.[101] Even so, Longfellow, like many during this period, called for the development of high quality American literature. In Kavanagh, a character says:
We want a national literature commensurate with our mountains and rivers… We want a national epic that shall correspond to the size of the country… We want a national drama in which scope shall be given to our gigantic ideas and to the unparalleled activity of our people… In a word, we want a national literature altogether shaggy and unshorn, that shall shake the earth, like a herd of buffaloes thundering over the prairies.[102]
The New-Yorker called him "one of the very few in our time who has successfully aimed in putting poetry to its best and sweetest uses".[45] The
Southern Literary Messenger immediately put Longfellow "among the first of our American poets".[45] Poet John Greenleaf Whittier said that Longfellow's poetry illustrated "the careful moulding by which art attains the graceful ease and chaste simplicity of nature".[109] Longfellow's friend Oliver Wendell Holmes, Sr. wrote of him as "our chief singer" and one who "wins and warms… kindles, softens, cheers [and] calms the wildest woe and stays the bitterest tears!"[
Contemporary writer Edgar Allan Poe wrote to Longfellow in May 1841 of his "fervent admiration which [your] genius has inspired in me" and later called him "unquestionably the best poet in America".[117] However, after Poe's reputation as a critic increased, he publicly accused Longfellow of plagiarism in what has been since termed by Poe biographers as "The Longfellow War".[118] His assessment was that Longfellow was "a determined imitator and a dextrous adapter of the ideas of other people",[117] specifically Alfred, Lord Tennyson.[119] His accusations may have been a publicity stunt to boost readership of the Broadway Journal, for which he was the editor at the time.[120] Longfellow did not respond publicly, but, after Poe's death, he wrote: "The harshness of his criticisms I have never attributed to anything but the irritation of a sensitive nature chafed by some indefinite sense of wrong".[121]
As an editor of the Boston Evening Transcript wrote in 1846, "Whatever the miserable envy of trashy criticism may write against Longfellow, one thing is
我最喜的作家400字(四)
学完一个学期的外国文学下来，回头想想我最喜欢的作家还是简，奥斯汀。之前喜欢她，是因为她的作品《傲慢与偏见》，当时觉得，这个作家太有才了，怎么能写出这么美的故事，这么多美丽的人，漂亮的风景，觉得她仿佛是个画家，给读者描绘了一幅栩栩如生的画。也被她笔下所描绘的男女主人翁的爱情故事所吸引，觉得“傲慢”、“偏见”真是两个很有趣的事。从那之后很敬佩她。所以然后又不由自主的读了她的另一部作品《奥斯菲尔德庄园》，虽然这部小说给我的感觉不如《傲慢与偏见》来的强烈，可能是男女主人公之间的故事不如后者来的更有戏剧性吧，不过依然非常喜欢，不管在哪她笔下的世界，都让我觉得是那么美丽，宁静。很向往她所描写的世界。书中女主翁芬妮的善良的性格也给了我很深刻的印象，不过印象最深的应该是芬妮和她哥哥威廉之间美丽的兄妹之情吧，让我突然遗憾自己没有哥哥呢。从那之后就开始想更多地了解简，想知道她为何会写出这些故事。学完外国文学后，更了解了她的生平，她所生活的环境，她所经历的人生，以至于慢慢开始了解，为何她能写出如此多美丽的故事和美丽的风景。正是她精彩的人生，成为了创作的源泉的吧。虽然她的人生在许多人看来是不尽完美的，不过我觉得哪能有事事都完美的事呢。所以很喜欢她，喜欢她的作品，和她作品中的人和世界。At the end of a semester of foreign literature, think back of my favorite writer was Jane Austen. Like her before, because of the pride and prejudice of her works, see the the writer so talented, how could you write such beautiful stories, so many beautiful people, beautiful scenery, felt as if she was a painter, painted a vivid picture of readers. Is characterized by her men and women attracted by the masters of love story, "pride" and "prejudice" are two very interesting things. Admired her since then. So then could not help reading her a piece of the aosifeierde estate, although this novel as much as I feel the pride and prejudice to strongly, possibly between the heroine's story more dramatic than the latter, but still loves, regardless of where in the world, so I think it is so beautiful and peaceful. Very long for her description of the world. Female master Weng Fenni's good character in the book also gave me a very deep impression, but what impresses is the beautiful between Fanny and her brother William of brother and sister, so I suddenly regret he has no brother. Since then started thinking more about Jane, wondering why she would write the stories. After the completion of foreign literature, more about her life, her living environment, what she's been through in life, that slowly begin to understand why she was able to write so many stories and beautiful landscapes of the beautiful. Was her great life, became the source of creation. Although she lives in the eyes of many is not perfect, but I think what about where to have everything perfect. So like her, like her work, and she works in the people and the world.
我最喜的作家400字(五)
我最喜的作家400字(六)
我最喜欢的作家——毕淑敏
是从什么时候开始开始的呢？我开始喜欢读毕淑敏的作品，喜欢想象她在写那些文章的时候是一个什么心情，什么样的情怀。亦喜欢与她一起沉思，沉浸在她的沉浸里，有时候真的觉得这是一件十分幸福的事。
之后便越来越多的刻意去了解她，了解的越深入便越会觉得她是一个十分了不起的作家。 请允许我在讲她的散文或其他的作品之前讲一讲她的生平。
她1952年10月10日出生于新疆伊宁，但是在1969年的时候，北京的“文革”正轰轰烈烈，那时候不满17岁的她，却悄然穿上军装，告别北京，作为藏北第一批女兵，到达共和国最高的土地上即喜马拉雅山、冈底斯山和喀喇昆仑山聚合的地方——西藏阿里高原去当兵了。那里的平均高度在海拔五千米以上，空气稀薄、缺氧，简直令人难以生存。而她所到的那个部队从来没有女兵，她是唯一的，因为在她之后、后无来者了。
三年后，她去新疆军区军医学校学习，原本要去军医大的，因受林彪事件影响，重灾区的军医大迟迟未招生，而她又不能再等，只有先走为上。在校期间她的成绩很好，院方要她留校，想把她培养成一名出色的外科医生。她真心地感谢母校对她的厚爱与挽留，但是却依然毫不犹豫的离开了，因为她认为：部队培养一个医生不容易，她不回去，以后所在的部队就没有名额了。因此她回去了，回到了阿里那个地方，在那里，她干了5年，直到1980年转业回北京进工厂，做医务所长、主治医师。(当时看到这些的时候，我就真的在想：如果她真的留校了，一心扑于救死扶伤的事业，或许她真的能成为一名出色的外科医生，一名教授专家，但是、是否依然还会有今天的这样的几乎家喻户晓的国家一级的出色的女作家？) 她的一生里前后行医22年，对医生职业，可以说她是情有独钟，一往情深的。这种浓厚的感情也来源于，在每一次看到由她亲手救活的生命的再一次的重新焕发青春的力量，那份情感、那一份感动是常人所体会不到的。
而这份感情的炽烈以致于她后来即使做了小说，似乎也没有忘记她是医生的治病救人的宗旨，普度众生的宏愿，苦口婆心的耐性，有条不紊的规章和清澈如水的医心。而正是因为如此，再看她的散文的时候我会觉得她把她作为医生的情怀带入了她的创作中。
她发表了很多作品，如《昆仑殇》、《孝心无价》、《阿里》长篇小说《红处方》《血玲珑》，中短篇小说集《女人之约》，散文集《婚姻鞋》、《风不能把阳光打败》等。但她真正取得全国性声誉是在短篇小说《预约死亡》发表了之后，这篇小说是以她自己在临终关怀医院的亲历为素材，对面对死亡的当事者及其身边人的内心进行的探索，真的是十分精彩。（建议大家有空也看看吧O(∩_∩)O））。并被被誉为是“新体验小说”的代表作。当然她的光环不止这些。她还曾经获得过庄重文学奖、小说月报第四、五、六届百花奖、当代文学奖、陈伯吹儿童文学奖、北京文学奖、昆仑文学奖、解放军文艺奖、青年文学奖、台湾第16届中国时报文学奖、台湾第17届联报文学奖等各种文学奖30余次。
但是我喜欢她却并不是因为她身上的耀眼的光环。我喜欢是因为她的善良、她的正直、她的祥和、她的冷静、甚至于她的循规蹈矩。而这些是在别的作家中没有的，但是却正因为如此而显得她是多么的难能可贵了，当然我也认为这与她从医多年是脱不了关系的。但是即使如此也不意味着所有的从过医的作家都有和她一样的把对于人的关怀和热情、悲悯化为冷静的处方，集道德、文学、科学于
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一体的思维方式、写作方式与行为方式。所以即使她写了像《昆仑殇》这样严峻的、撼人心魄的事件，她仍然能够做到保持着对每一个当事人与责任者的善意、公平与冷静。
我相信惟其冷静才能公正，惟其公正才能好心，惟其好心世界才有希望，而只有作者本人有了希望，才不至于使自己使读者使国家使社会陷于万劫不复的恶性循环里，也许她比于其他作者来说缺少了应有的批评与憎恨，但我却认为至少无愧于、其实是远远优于那些缺少应有的爱心与好意的志士。因为她——正视死亡与血污。下笔常常令人战栗，如《紫色人形》《预约死亡》。但是主旨却依然平实和悦，因为她是要她的读者更好地活下去、爱下去、工作下去。所以她宁愿意忏悔“我”的多疑与戒备大过，歌颂普通人性《翻浆》，而与泛恶论的诅咒与煽动迎迥异其趣。
至于她的散文就更加明澈见底了。
她的散文不仅能让人感受到情感的细腻，文辞的华美，更能使人受到深深的启迪。她的笔触不仅仅停留在自然，更多的是停留在生活。在她的笔下，我常常能看到一位用充满睿智的眼光在对生活、对生命进行理性思索的智者。
比如她的散文集《风不能把阳光打败》中《我很重要》一篇中。“长期以来，我们习惯于说“我不重要””她在文章一开始就用了一连串的四个排比句，来解释“我不重要”的教育，其实是忽视个体尊严和个体价值、缺乏人文关怀的。并接着从多方面列举了“我很重要”理由“对生命而言，每一个生命来之不易，我们没有权利和资格说不重要；对父母而言，我们是他们慈爱的对象，幸福的中心，我们不敢说不重要；对爱人而言，我们是相濡以沫的同道，我们不忍心说不重要；对子女而言，我们是他们的靠山和慰籍，我们没有胆量说不重要；对朋友而言，相交多年密不可分，我们不好意思说不重要；对事业而言，我们就是创意，就是新设想，我们无法说不重要。”并在文章的最后她说“面对着这么多无法拒绝的理由，我们怎能不说“我很重要”？而且应该是由不习惯说到大声地说，从我对自己小声说到响亮的对世界宣布,我们应该有这份勇气，因为,能大声说出“我很重要”，就是心灵对生命的一种庄严的承诺。”
就是这样的对生命的、一种诚恳的态度让我每次读她的作品时都会被深深地打动，所以真的很希望同学们也能和我一样感受到那种感动，希望你们也能看看毕淑敏。并在此与你们一同分享她的经典语录：
幸福不喜欢喧嚣浮华,常常在暗淡中降临.贫困中相濡以沫的一块糕饼,患难中
心心相映的一个眼神。
幸福是个哑巴。
一些事情，当我们年轻的时候，无法懂得。当我们懂得的时候，已不再年轻。
世上有些东西可以弥补，有些东西永无弥补。
磨砺内心比油饰外表要难得多，犹如水晶与玻璃的区别。
人活着是为什么，自己快乐同时使别人快乐。
我羡慕流云的飞逝，嫉恨飞鸟的自由！
人生的重大决定，是由心规划的，像一道预先计算好的框架，等待着你的星
座运行。如期待改变我们的命运，请首先改变心的轨迹。
孝,是稍纵即逝的眷念. 孝,是无法重现的幸福. 孝,是一失足成千古恨的往事.
孝,是生命与生命交接处的链条. 一旦断裂,永无连接。
没有快乐，谁也别想留住健康。
我不相信手掌的纹路，但我相信手掌加上手指的力量。
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人生总是有灾难。其实大多数人早已练就了对灾难的从容，我们只是还没有
学会灾难间隙的快活。我们太多注重了自己警觉苦难，我们太忽视提醒幸福。请从此注意幸福！幸福也需要提醒吗？
一个人可以受过教育，但他依然是没有教养的。就像一个人可以不停地吃东
西，但他的肠胃不吸收，竹篮打水一场空，还是骨瘦如柴。——毕淑敏,《教养的证据》
爱怕沉默。太多的人，以为爱到深处是无言。
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