Having witnessed the above exchange between the Merrythoughts, Nell disapproves of Merrythought's treatment of his wife: 'he's an ingrant old man to use his bedfellow so scurvily' (3.530-1).
The domestic conflict of the Merrythoughts is resolved in act 5 when Mistress Merrythought gives in to her husband's command:
'Let him stay at home and sing for his dinner', advises Mistress Merrythought about her highly musical husband, Old Merrythought, who believes in achieving mirth and health through much singing, a good portion of which has the pretext of conviviality, in particular, drinking.
The last few examples have demonstrated how closely music is related to the preservation and restoration of physical and mental well-being, for which Merrythought's musical personality and outlook on life make him a most suitable spokesperson.
Among the many musical characters present in Jacobean city comedies as well as the broader canon of English Renaissance drama, Merrythought is undoubtedly one of the most full and vivid examples of how characterization can be conducted via constant singing.
A character whose life seems to be made up of singing and drinking, Merrythought sings while he drinks, and he sings about drinking and merrymaking so often that it is almost impossible to separate his songs from his drinks, and vice versa.
Merrythought's songs accentuate his intrinsic connection to music.
Act 2 sees Merrythought's singing infused with some more of his own philosophy.
(2.456-9) Another layer of Merrythought's life philosophy with which music is associated is that singing itself is a form of vital nutrient that keeps one healthy and wholesome:
When confronted by the anxious Merchant Venturewell in search of her daughter who has eloped with Jasper, Merrythought's son, Merrythought simply continues to vocalize his carefree outlook on life.