Her circle may be restricted, but it is complete. There are heights and depths in human nature Miss Austen has never scaled nor fathomed, there are worlds of passionate existence into which she has never set foot but although this is obvious to every reader, it is equally obvious that she has risked no failures by attempting to delineate that which she has not seen. George Henry Lewes, writing in 1852, accorded her the status and identified issues that critics would be repeating and arguing about for the next century and a half: First and foremost let Austen be named, the greatest artist that has ever written, using the term to signify the most perfect mastery over the means to her end. Characters of folly or simplicity, such as those of old Woodhouse and Miss Bates, are ridiculous when first presented, but if too often brought forward or too long dwelt upon, their prosing is apt to become as tiresome in fiction as in real society.

The faults arise from the minute detail which the author's plan comprephends. Her merits consist much in the force of a narrative conducted with much neatness and point, and a quiet yet comic dialogue, in which the characters of the speakers evolve themselves with dramatic effect.

The subjects are not often elegant, and certainly never grand but they are finished to nature, and with a precision which delights the reader. Reviewing Emma for the Quarterly Review (1816), Sir Walter Scott characterized its strengths and weaknesses: The author's knowledge of the world, and the peculiar tact with which she presents characters that the reader cannot fail to recognize, reminds us something of the merits of the Flemish school of painting. Contemporary reviewers found much to praise in them. Jane Austen is generally acknowledged to be one of the great English novelists, so it is no surprise that her novels have remained continuously in print from her day to the present.

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