He saw there was a great danger that the romantic mysticism might lead its pursuers to neglect the duties of life, or lessen their interest in the drama of mankind.
Therefore he added to his cry for eternity and perfection, his other cry: "Recognise your limitations, and work within them, while you must never be content with them.

Give yourself in love and patience to the present labour of mankind; but never imagine for a moment that it ends on earth." He thus combined with the thirst of the romantic for eternity the full ethical theory of life, as well as the classic poet's determination to represent the complete aspect of human life on earth.
At this point, but with many fantastic deviations due to his prevailing romanticism, he was partly of the classic temper.

The poem of _Sordello_ is not without an image of this temper, set vigorously in contrast with Sordello himself.

This is Salinguerra, who takes the world as it is, and is only anxious to do what lies before him day by day.

His long soliloquy, in which for the moment he indulges in dreams, ends in the simple resolution to fight on, hour by hour, as circumstances call on him.
Browning's position, then, is a combination of the romantic and classical, of the Christian and ethical, of the imaginative and scientific views of human life; of the temper which says, "Here only is our life, here only our concern," and that which says, "Not here, but hereafter is our life." "Here, and hereafter," answered Browning.