But for loving, why, you would not, Sweet,
Tho' we prayed you,
Paid you, brayed you
In a mortar—for you could not, Sweet!
So, we leave the sweet face fondly there,
Be its beauty
Its sole duty!
Let all hope of grace beyond, lie there!
And while the face lies quiet there,
Who shall wonder
That I ponder
A conclusion? I will try it there.
As,—why must one, for the love foregone
Scout mere liking?
Thunder-striking
Earth,—the heaven, we looked above for, gone!
Why, with beauty, needs there money be,
Love with liking?
Crush the fly-king
It’s stanzas like this that led Browning’s detractors to dismiss him as simultaneously prosy and obscure. See for instance Wilde’s famous (or, famous enough at least to make in on Forbes' ‘ Thoughts on the Business of Life : “Meredith is a prose Browning, and so is Browning; he used poetry as a medium for writing in prose.” 
 A prize for anyone who can explain the function of m-dashes or the grammatical role of “Thunder-striking” in this unpretty consonant-clustral stanza.
A Pretty Woman