During the summer of 1851, following the success of The Scarlet Letter and The House of the Seven Gables, Nathaniel Hawthorne takes a break and makes a return to children’s literature. He devotes the following two years to A Wonder-Book for Girls and Boys and Tanglewood Tales, two books that include a dozen of staged Greek myths, i.e. every myth of the first book is preceded by an introduction and followed by a conclusion, and the myths of the second book are preceded by an introduction. This article aims to study the French translations of the anthroponyms (flower names) chosen by Hawthorne to designate the characters of these introductions and conclusions, and given by Léonce Rabillon, Henry Borjane, Pierre Leyris and Frédérique Revuz in their translations and adaptations. More specifically, it deals with denotion, connotation and sociocultural anchorage in source and target languages; elements appearing to play a leading role in the translation of the onomastic network created by the American author to accompany his Greek myths.