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The present article deals with the social and psychoanalytic theory as based on two cultural principles, put forward by Herbert Marcuse. They are associated with Prometheus, i.e. productivity through repressed refl ection, and Orpheus, i.e. experience of freedom, game and sensuality. Herbert Marcuse modifi es the mythological paradigm that herein fi nds projection on the literary period of the years 1917–1934. The literary texts under analysis show that the artistic principle of the Soviet reality used to be not Orpheus, typical of symbolist aesthetics and poetics of 1910s, but Prometheus, correlative with the rapid industrialization of the avant-garde 1920s. In a broad sense, it refers to the restrictions of transcendental senses in the cultural imagination of the 1920s, so-called «Orpheus' miracle». Hence, a suggested term – fading symbolism – is directly proportional to the depreciation of Orphism, which is particularly signifi cant in the lyrical poetry by Pavlo Tychyna. It indicates a gradual rationalization of poet's artistic method. Prometheus rises in the distance between «Orpheus Tilling» (for V. Barka) and verifi es propagandist slogans in «Party leads» (1934), «Prometheus» (1921 or 1922), «Faust walks…» (1923) and in the drama-féerie «Prometheus» (1923). Altruistic efforts, declared in the formula «Prometheus is a dream», allude to the statement by H. Marcuse about Prometheus as a marker of repressed sensuality. The existentialist perspective of «exciting 1920s», as stated in the writing by «From Holui's notes» I. Senchenko (1927), was replaced with several text versions in which Prometheus is identifi ed with revolution – social («Revolution» (1925) by M. Yohansen) and technical («Raid» (1930) by O. Vlyzko), published in the representative anthology «Executed Renaissance». The research interest focuses on the storylines premised on the principle that tedious labor suppresses refl ection, while its symbolic objectifi cation is music, song and dance. It is displayed in «The Village» (1919) by V. Pidmohylnyi, «Under the Rain» (1925) by D.Borzyak, «Affl iction» (1927) by Ye. Pluzhnyk, «Donna Anna» (1929) by H. Brasyuk and «Unnamed Story» (1930) by P. Vanchenko. The static of poster as well as the music and dance dynamics in the architectonics of the story by D. Borzyak «Under the Rain» (1925) mark the antagonistic formula between Prometheus and Orpheus, namely between the repressed sensuality (the socialized order in postwar working days) and the liberated one (the scheme of orphic mysteries, complied in theming memories of past military tyranny). Similarly, in «Unnamed Story» (1930) by P. Vanchenko the poster symbolizes the oppressed instinctive affi nities, idea of necessity, but musical emotions act according to psychoanalytic practice, «function as liberation instincts» (in the words of T. Adorno). The present study proves the effectiveness of the suggested methodological framework, departing from S. Freud's theory on confl ict between civilization and instincts to conceptualities of the Frankfurt school of philosophers, H. Markuze and T. Adorno. It reveals its validity for the Ukrainian artistic thinking of 1917– 1934. Keywords: Prometheus, Orpheus; poster, music (dance); myth, archetype; story, novel; symbolism, avant-gardism. ; Соціально-психоаналітична теорія Герберта Маркузе про два принципи культури, асоційовані з Прометеєм (продуктивність ціною репресованої рефлексії) та Орфеєм (досвід свободи, гри й чуттєвості), корегує міфософську парадигму літературного періоду 1917–1934 років: аналізовані художні тексти доводять, що мистецьким принципом совєтської реальності постає не Орфей, знаковий у символістській естетиці й поетиці 1910-х, а співвідносний зі стрімкою індустріалізацією аванґардистських 1920-х Прометей. Ключові слова: Прометей, Орфей; плакат, музика (танець); міф, архетип; оповідання, повість; символізм, аванґардизм.