When we criticize ever so lightly any modern poetical treatment of an antique subject, we may as well premise that we do so as something which is only partially true, since few writers have ever so perfectly penetrated any foreign national spirit as to reproduce it--let us say, like a translation. Even translations from the Greek are made Miltonically, or Pope-ishly, or Shakespearian-ally, and seldom with that racy literalness which characterizes Carlyle's occasional bits of German poetic version. Sometimes, as in the present instance, the old form is almost unattainable, for Hebrew poetry and the modes of speech used at Herod's court are too little known in their first fresh life to be vividly reproduced. Consequently the more modern forms are indispensable. But, from the stand-point of English poetry, SALOME is a production of more than marked ability--it is a boldly conceived, genially executed, oftentimes a truly superb poem. The repentance of SALOME has a broad lyrical and musical sweep which seems like an opera of grand passions when the trivial associations of the opera are forgotten. In the concluding scenes we seem to feel the inspiration of GOETHE and of ÆSCHYLUS, for the author has combined with rare tact the spirit of avenging fate with that of atonement--the Pagan and the Christian; and if the language be here and there meagre or lack concentrativeness, we pardon it in consideration of the high idea by which plot, incident, and character are swayed. In one scene, however--the dialogue between Antonius and the Jew--we find a degree of historic truth, a reproduction in dramatic form of the sublime spirit of Hebrew poetry, and an æsthetic color which, had it been maintained throughout, would have neutralized our introductory remarks. This scene is of itself a real poem. Herodias is, we may add, consistent, and bravely accented in every thought and word; had she, however, been more concise, she would have been more consistent to her earnestly malignant nature. 'But, then, Shakespeare exaggerated the monologue!' In conclusion, we commend SALOME cordially to all, for all can read it with pleasure, and many, we may add, with profit. It belongs to a soundly literary school, is disfigured with no extravagances, embodies much real beauty, and is above all a poem of promise of even better works from its author. LIFE AND LETTERS OF WASHINGTON IRVING. Vol. 2. By his nephew, PIERRE M. IRVING. New York: G. P. Putnam.