But the great part of Browning's actual sentiments, and almost all the finest and most literary of them, are perfectly plain and popular and eternal sentiments.

Meredith is really a singer producing strange notes and cadences difficult to follow because of the delicate rhythm of the song he sings.

Browning is simply a great demagogue, with an impediment in his speech.

Or rather, to speak more strictly, Browning is a man whose excitement for the glory of the obvious is so great that his speech becomes disjointed and precipitate: he becomes eccentric through his advocacy of the ordinary, and goes mad for the love of sanity.
If Browning and George Meredith were each describing the same act, they might both be obscure, but their obscurities would be entirely different.

Suppose, for instance, they were describing even so prosaic and material an act as a man being knocked downstairs by another man to whom he had given the lie, Meredith's description would refer to something which an ordinary observer would not see, or at least could not describe.