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Right to self-determination is one of the major principles of international law, but it was not always so. History of the present day political map of the world is the history of education and dissolution of solid state associations of the empire type. Collapse of empires as a rule is preceded by serious changes in the life of the society – elevation of national self-determination and activation of national liberation movements, which are directly mirrored in all spheres of national cultures, and first of all in literature. Development of such processes was fixed on the territory of Russian Empire, starting from the middle of the 19th century. In Latvia it was the first stage of the movement Atmoda /”Revival”/ of 1850-1880, in Georgia – the “sixties generation” – “Tergdaleulebi” (“Those who have drunken the water of the Terek river”). Rise of national-liberation movement is accompanied by the process of growth of national self-determination. This is why our attention was drawn by the verses “ბედნიერი ერი” / “Happy People”/ by I.Chavchavadze and “Musu Kultura” /”Our Culture”/ J. Rainis, directly appealing to self-determination of their own nations. Structuring of the inner artistic space of these verses is based on syllogism: thesis, antithesis and synthesis. Structure of verses shows that their authors are not only talented poets; they are also perfect orators, accustomed to address the wide audience skillfully using oratorical methods. Generality of the pursued task is apparent – touching self-respect, pride to break up the chain of routine to make a reader to look into eyes of reality and to ponder on it. Idea of liberation found its artistic embodiment in the history of many national literatures. In the period directly preceding cardinal changes in social life, literature process fixed creation of personified artistic symbols striving to Liberation – artistic embodiment of activists fighting for freedom. Identifying major tendencies of the mechanism of creating similar images seems interesting. The article includes a comparative analysis of the poems “Lauztās Priedes” /”Broken Pine”/ and “არწივი” /”Eagle”/ Vazha-Pshavela, demonstrated the connection of the idea of national self-determination and ethno-cultural symbolism. In the poetry of J.Rainis a function of such symbol is granted to a Pine. Transformation of this image in the poetic heritage of J.Rainis seems indicative, symbolic: general context forms poly-scale picture of alterations of social mood, spirit – irrespective of the fact that at the verge of centuries, hostile, antagonistic forces manage to cut, bring down the whole grove of majestic stock (“Broken Pines”), in pre-revolutionary years silently holding their breath while “Sole Pine” in alarming expectation is still waving boldly its crown. But after events of 1905, activity is substituted by reflections (“Dry Pine”). Thus, the more active are namely “Broken Pines” permanently striving to the freedom and the struggle for its attaining. This image kept its metaphorical significance for almost the whole century – popularity of its symbolism remained pressing till the moment of disintegration of the Soviet Union and obtaining state independence by Latvia. Eagle – one of the ancient solar symbols of the world. Symbolism, chosen by Vazha-Pshavela for opposition (Eagle ↔ Raven) clearly referred to the real meaning of a metaphor (Georgia ↔ Enemies). Thanks to this verse, a wounded Eagle has been conceived as allegory of Georgian nation - enfeebled in the fight with overwhelming enemies, but still keeping the will to fight. Poetic images appeal directly to emotions: they give birth to similar response in the hearts of readers. This is a faith in the victory and feeling of pride: pride for Pines, which will surely reach by water before sun-rise, pride for the Eagle, who will manage many crows before it dies. Its death will not be vain. Georgia will have still more enemies and it, similar to Latvia, will surely attain sun-rise of a new life. Symbolism of artistic personifications in the verses of Vazha-Pshavela and J.Rainis, drawn by centrifugal gravitation to comprehensiveness, attains high level of generalization (Georgian people, Latish people) and is transformed into moral category. In the process of poetic myth-creation, reconsidering transformation of mythologem → ethno-cultural symbol → national symbol, Georgian and Latish poets create not purely poetic symbols, but ethno-cultural archetypes with new semantic charging – constants of national spirituality, exerting influence of the formation of national behavioral model. ‘Other’ is not always alien. Irrespective of its uniqueness and originality, ‘other’ is perceived as close in the cases, when we trace conjunction of deep levels of culture development. In this perspective the paper analyzes the history of translations of the verse of Janis Rainis “Broken Pines” into Georgian and their functionalities in the conditions of the soviet totalitarian regime. As a result of the analysis, we believe it is possible to approve that: 1) the foreground poetic form of appeal to the conscience of the nation is a structure that allows the use of public speaking techniques; 2) in the process of creating an artistic image poets appeal directly to the people’s spiritual culture, which facilitates the decoding of poetic metaphors; 3) a high degree of metaphorization gives the artistic symbols the importance of ethno-cultural archetypes. [ABSTRACT FROM AUTHOR]