Browning has now resolved to dedicate his art, which is his life, to love of Humanity, of that pale dishevelled girl, unlovely and lovely, evil and good; and to tell the story of individual men and women, and of as many as possible; to paint the good which is always mixed with their evil; to show that their failures and sins point to a success and goodness beyond, because they emerged from aspiration and aspiration from the divinity at the root of human nature. But to do this, a poet must not live like Sordello, in abstractions, nor shrink from the shock of men and circumstance, nor refuse to take men and life as they are--but throw himself into the vital present, with its difficulties, baffling elements and limitations; take its failures for his own; go through them while he looks beyond them, and, because he looks beyond them, never lose hope, or retreat from life, or cease to fight his way onward. And, to support him in this, there is but one thing--infinite love, pity, and sympathy for mankind, increased, not lessened by knowledge of the sins and weakness, the failure and despairs of men. This is Browning's second thought for life. But this is the very thing Sordello, as conceived by Browning, did not and could not do. He lived in abstractions and in himself; he tried to discard his human nature, or to make it bear more than it could bear. He threw overboard the natural physical life of the body because it limited, he thought, the outgoings of the imaginative soul, and only found that in weakening the body he enfeebled the soul. At every point he resented the limits of human life and fought against them. Neither would he live in the world allotted to him, nor among the men of his time, nor in its turmoil; but only in imagination of his own inner world, among men whom he created for himself, of which world he was to be sole king. He had no love for men; they wearied, jarred, and disturbed his ideal world. All he wanted was their applause or their silence, not their criticism, not their affection. And of course human love and sympathy for men and insight into them, departed from him, and with them his art departed. He never became a true poet. It is this failure, passing through several phases of life in which action is demanded of Sordello, that Browning desired to record in the last three books of the poem. And he thinks it worth doing because it is human, and the record of what is human is always of worth to man. He paints Sordello's passage through phase after phase of thought and act in the outside world, in all of which he seems for the moment to succeed or to touch the verge of success, but in which his neglect of the needs of the body and the uncontentment of his soul produce failure. At last, at the very moment of death he knows why he failed, and sees, as through a glass darkly, the failure making the success of the world to come. The revelation bursts his heart.