Critic Thomas Berger states that, regardless of the meaning of these final songs, they are important in their contrast with the lack of song throughout the rest of the play. In cutting themselves off from women and the possibility of love, the King and his Lords have effectively cut themselves off from song. Song is allowed into the world of the play at the beginning of Act III, after the Princess and her ladies have been introduced and the men begin to fall in love. Moth’s song "Concolinel" indicates that the vows will be broken. In Act I, Scene II, Moth recites a poem but fails to sing it. Don Armado insists that Moth sing it twice, but he does not. Berger infers that a song was intended to be inserted at this point, but was never written. Had a song been inserted at this point of the play, it would have followed dramatic convention of the time, which often called for music between scenes.