The absurd notion that he had no sense of melody in verse is only possible to people who think that there is no melody in verse which is not an imitation of Swinburne.

To give a satisfactory idea of Browning's rhythmic originality would be impossible without quotations more copious than entertaining.

But the essential point has been suggested.
"They were purple of raiment and golden, Filled full of thee, fiery with wine, Thy lovers in haunts unbeholden, In marvellous chambers of thine," is beautiful language, but not the only sort of beautiful language.
This, for instance, has also a tune in it-- "I--'next poet.' No, my hearties, I nor am, nor fain would be! Choose your chiefs and pick your parties, Not one soul revolt to me! * * * * * Which of you did I enable Once to slip inside my breast, There to catalogue and label What I like least, what love best, Hope and fear, believe and doubt of, Seek and shun, respect, deride, Who has right to make a rout of Rarities he found inside ?" This quick, gallantly stepping measure also has its own kind of music, and the man who cannot feel it can never have enjoyed the sound of soldiers marching by.

This, then, roughly is the main fact to remember about Browning's poetical method, or about any one's poetical method--that the question is not whether that method is the best in the world, but the question whether there are not certain things which can only be conveyed by that method.

It is perfectly true, for instance, that a really lofty and lucid line of Tennyson, such as-- "Thou art the highest, and most human too" and "We needs must love the highest when we see it" would really be made the worse for being translated into Browning.