His performance has become a classic among English translations for its racy, spirited rendering of the original, but was faulted by translators such as John Ormsby (who had a fondness for it), for being so literal that certain words and phrases are completely mistranslated. ("Gustos", for example, means "delights" or "likings", but Shelton renders it as "gusts", and "dedos", which literally means "fingers", is rendered as such by Shelton, although the word can also mean "inches", which is the way Cervantes intends it.) Ormsby states, in his introduction to his own 1885 translation, that Shelton failed to recognize that a Spanish word can have more than one shade of meaning, and accuses Shelton of not having had a good knowledge of Spanish. In his introduction to the "Tudor Translations" (1896) reprint of Shelton's translations, James Fitzmaurice-Kelly sees the performance otherwise: "Shelton's title to remembrance is based upon the broadest grounds. He had no sympathy for the arid accuracy that juggles with a gerund or toys with the crabbed subjunctive. From the subtleties of syntax, as from the bonds of prosody he sallies free; and the owls of pedantry have bitterly resented his arrogant disdain for them and theirs. And they have sought to avenge themselves, after their manner, by reproaching him with taking a disjunctive for an interjection, and with confounding of predicate and subject. They act after their kind. But Shelton's view of his function was ampler and nobler than the hidebound grammarian's. He appeals to the pure lover of literature; and as a man of letters he survives."