Shakespeare in performance works were plundered for these scenes. Among the drolls taken from Shakespeare were "Bottom the Weaver" (Bottom's scenes from "A Midsummer Night's Dream") and "The Grave-makers" (the gravedigger's scene from "Hamlet"). At the Restoration in 1660, Shakespeare's plays were divided between the two newly licensed companies: the King's Company of Thomas Killigrew and the Duke's Men of William Davenant. The licensing system prevailed for two centuries; from 1660 to 1843, only two main companies regularly presented Shakespeare in London. Davenant, who had known early-Stuart actors such as John Lowin and Joseph Taylor, was the main figure establishing some continuity with
A Midsummer Night's Dream of patriarchal control. In his book "Power on Display", Leonard Tennenhouse says the problem in "A Midsummer Night's Dream" is the problem of "authority gone archaic". The Athenian law requiring a daughter to die if she does not do her father's will is outdated. Tennenhouse contrasts the patriarchal rule of Theseus in Athens with that of Oberon in the carnivalistic Faerie world. The disorder in the land of the fairies completely opposes the world of Athens. He states that during times of carnival and festival, male power is broken down. For example, what happens to the four lovers in the