The history of Ukrainian and Russian translations of the playwright by Maurice Maeterlinck is full of well-known names like Lesya Ukrainka, Natalia Kobrynska, Valeriy Briussov and Nikolay Minskiy. Nevertheless some aspects of translations show several problems in misunderstanding of the realities of the French text. Our purpose was to make the comparative analysis of the Russian and Ukrainian translations of Ariane et Barbe-Bleue, a key text of the Maeterlinck’s theatre. The linguo-poetic and linguo-aesthetic analysis were used. The study have shown that the Slavonic translators have omitted the onomastic sign Ariadne revealed in the letters of the author to his German translator Friedrich von Oppeln-Bronikowski where the mythic sign is clearly presented in order to make a transvalorization of the mythological intertext. The original results of our study was used for our new translation of the play Ariane et Barbe-Bleue for the Ukrainian readers published in 2007 then our analysis was developed in the doctorate thesis dedicated to the mythological intertext in the first theatre by Maurice Maeterlinck and in the chapter of our thesis of doctor of science devoted to the study of Greek mythology in the poetry of the Belgian Nobel Prize winner. ; L’histoire des traductions ukrainiennes et russes de l’œuvre de Maurice Maeterlinck est riche en noms célèbres comme Lessia Oukraïnka, Natalia Kobrynska, Valeriï Brioussov et Nikolaï Minskiï. Cependant plusieurs aspects dans la traduction font preuve du manque de connaissance des réalités du texte source, et notre but fut d’effectuer une analyse comparée des traductions russes et ukrainiennes de la pièce Ariane et Barbe-Bleue, un texte clé du théâtre maeterlinckien en nous basant sur la méthodologie de l’analyse traductologique et linguo-poétique. L’analyse a démontré que les traductions aussi bien russes qu’ukrainiennes ignorent le signe onomastique Ariane alors que les lettres de Maurice Maeterlinck à son traducteur allemand Friedrich von Oppeln-Bronikowski attestent ...