A very little trouble on his part, a very little sacrifice of his unbridled fancifulness, would have spared us a great deal of unnecessary trouble, and made his poetry better and more enduring.
Another excuse may be made for his faults of style.

It may be said that in one sense the faults are excellences.

When a poet has to represent excessively subtle phases of thought and feeling, with a crowd of side-thoughts and side-feelings intruding on them; when he has to describe the excessive oddities, the curious turns of human emotion in strange inward conditions or outward circumstances or when he has to deal with rugged or even savage characters under the sway of the passions; he cannot, we are told, do it otherwise than Browning did it, and, instead of being lazy, he used these quips and cranks of style deliberately.
The excuse has something in it.

But, all the same, an artist should have managed it otherwise.

Shakespeare was far more subtle in thought than Browning, and he had to deal with every kind of strange circumstance and characters; but his composition and his style illuminate the characters, order the circumstances, and render clear, as, for example, in the Sonnets, the subtleties of his thought.