Editions of individual plays were typically published in quarto and could be bought for 6d () without a binding. These editions were primarily intended to be cheap and convenient, and read until worn out or repurposed as wrapping paper (or worse), rather than high quality objects kept in a library. Customers who wanted to keep a particular play would have to have it bound, and would typically bind several related or miscellany plays into one volume. Octavos, though nominally cheaper to produce, were somewhat different. From ("Venus and Adonis") and 1598 ("The Rape of Lucrece"), Shakespeare's narrative poems were published in octavo. In "The Cambridge Companion to Shakespeare's First Folio", Tara L. Lyons argues that this was partly due to the publisher, John Harrison's, desire to capitalize on the poems' association with Ovid: the Greek classics were sold in octavo, so printing Shakespeare's poetry in the same format would strengthen the association. The octavo generally carried greater prestige, so the format itself would help to elevate their standing. Ultimately, however, the choice was a financial one: "Venus and Adonis" in octavo needed four sheets of paper, versus seven in quarto, and the octavo "The Rape of Lucrece" needed five sheets, versus 12 in quarto. Whatever the motivation, the move seems to have had the intended effect: Francis Meres, the first known literary critic to comment on Shakespeare, in his "Palladis Tamia" (1598), puts it thus: "the sweete wittie soule of "Ouid" liues in mellifluous & hony-tongued "Shakespeare", witnes his "Venus" an"d" "Adonis", his "Lucrece", his sugred Sonnets among his priuate friends".