With the plays just mentioned each of the dramatic kinds so far considered reaches its artistic limit. These kinds, however, during the decades roughly coincident with the years between 1545 and 1566, enter into combinations, by virtue of which English comedy is assisted to a still further advance. The plays that represent this stage of literary history may be called polytypic. _Roister Doister_ and _Jacke Jugeler_ subordinate the materials of academic interlude and classical farce to classical regulations. Into the _Historie of Jacob and Esau_ enter characteristics of miracle play, moral, realistic interlude, and classical comedy. _Gammer Gurton_ and _Tom Tyler_ (of about the same date) subsume, under the domestic play of low life, native elements of both farce and moral. _Misogonus_ combines elements of moral interlude and farce with qualities native and foreign, classical and romantic. These are followed by the biblical _genre_ drama of _Godly Queen Hester_, partly political and partly pedagogical in intent. In the first five of these plays the tendency to teach is reduced almost to a minimum. In the _Misogonus_ and _Hester_ it is present, but is counterbalanced by romantic or satirical considerations. When, however, we reach the _Damon and Pythias_ and _The Supposes_, the didactic has disappeared altogether in favour of the truly artistic motive. These plays at last combine the comic and serious, the real, the romantic, and the ideal. They are constructive, not primarily critical; in fact, they must be regarded as our first real comedies.