The drama of the 1660s and 1670s was vitalised by the competition between the two patent companies created at the Restoration, as well as by the personal interest of Charles II, and the comic playwrights rose to the demand for new plays. They stole freely from the contemporary French and Spanish stage, from English Jacobean and Caroline plays, and even from Greek and Roman classical comedies, and combined the looted plotlines in adventurous ways. Resulting differences of tone in a single play were appreciated rather than frowned on, as the audience prized "variety" within as well as between plays. Early Restoration audiences had little enthusiasm for structurally simple, well-shaped comedies such as those of Molière; they demanded bustling, crowded multi-plot action and fast pace. Even a splash of high heroic drama might be thrown in to enrich the comedy mix, as in George Etherege's "Love in a Tub" (1664), which has one heroic verse "conflict between love and friendship" plot, one urbane wit comedy plot, and one burlesque pantsing plot. ("See illustration, top right".) Such incongruities contributed to Restoration comedy being held in low esteem in the 18th, 19th and early 20th centuries, but today the early Restoration total theatre experience is again valued on the stage, as well as by postmodern academic critics.