Although he avoids traditional verse forms and only uses rhyme erratically, Frost is not an innovator and his technique is never experimental. To celebrate his first publication, Frost had a book of six poems privately printed; two copies. 1934, collected in Dagon and Other Macabre Tales. Since its publication, many readers have analyzed the poem as a nostalgic commentary on life choices.
The ominous tone of these two poems prompted Rosenthals further comment: At his most powerful Frost is as staggered by the horror as Eliot and approaches the hysterical edge of sensibility in a comparable way. Horror: 100 Best Books. Reviewing A Witness Tree (1942) in Books, Wilbert Snow noted a few poems which have a right to stand with the best things he has written: Come In, The Silken Tent, and Carpe Diem especially. Yet, just as Frost is aware of the distances between one man and another, so he is also always aware of the distinction, the ultimate separateness, of nature and man. But what Frost achieved in his poetry was much more complex than a mere imitation of the New England farmer idiom.
Like the 19th-century Romantics, he maintained that a poem is never a put-up job. Often the central menace of a work of horror fiction can be interpreted as a metaphor for the larger fears of a society. This reading of the poem is extremely popular because every reader can empathize with the narrators decision: having to choose between two paths without having any knowledge of where each road will lead. James Guide to Horror, Ghost Gothic Writers (London:. Many other critics have lauded Frosts ability to realistically evoke the New England landscape; they point out that one can visualize an orchard in After Apple-Picking or imagine spring in a farmyard in Two Tramps in Mud Time.