Most criticisms of Frost result in general commentaries on his classic poems like "Mending Wall" and "The Death of the Hired Man." Untermeyer and Lowell emphasize his pastoralism; Sidney Cox has his "original ordinary man" theory; J. Wilson thinks that he is the only true American poet; Kremborg calls him definitely Yankee; and Munson calls him a pure classical poet.
Thus since there isn't much detailed critical material on Frost it is better for purposes of study to look at Frost's poetry itself.
But it is a very flexible meter, conversational in tone.
He uses colloquialisms rather than dialects to portray the New Englander.
In this line, the poet implies that the death scene and others like it must occur in order for life to continue on each morning for particular creatures; this spider's breakfast is an occurrence of Darwinist natural selection.
Robert Frost has been called the interpreter of New England, but he might also be called the interpreter of nature and humanity as a whole, for his poetry shows that he is a close observer of both nature and people, and that he portrays their fundamental elements.
His descriptions are not just pretty pictures but tanged of the soil.
He shows what he has observed of farm life, almost a glorification of the common place, for he would rather be just a plain New Hampshire farmer, not afraid of nature nor a runaway from it either, and it is the setting of the New Hampshire farmer in particular and the New England farmer in general that he portrays with so much realism.
The dominant critical discourse surrounding the poet holds that beneath the surface of Frost s homespun wisdom and provincial charm beats the heart of a despairing man, whose poetry reflects the abandonment of hope, the stark confrontation between the frail and fleeting human and the indifferent and eternal universe.
This study does not seek to invalidate this critical perspective entirely, but it does propose a modulation and counter-reading.