АДЮЛЬТЕР – ПЕРИФЕРИЙНЫЙ МОТИВО-СЮЖЕТНЫЙ КОМПЛЕКС РУССКОГО СЛОВЕСНО-КУЛЬТУРНОГО ПРОЦЕССА?

Adultery as a social-cultural and artistic-aesthetic phenomenon has long related but not identical stories. What is the literary history of infidelity, its national-mental originality, how and why the literary-cultural process reacts to it? – are the key questions that are best studied if we consider adultery as an independent motive-plot complex. Not always the search for archetypal foundations can help in answering the question of national-artistic and literary originality and secondary, banality of the solution to the poetics of adultery. For example, why in Western European literature, starting from the Middle Ages and the Renaissance, is it possible to have a naturally comic, frivolous idea, an image of an adulterer, but not in the Russian literary-cultural process? Adultery in the Russian literary tradition is seen and evaluated in a serious didactic moral plane. For a long time it seemed that marital infidelity was a peripheral phenomenon for writers, literary critics, and researchers. But should we talk about the marginal position of adultery, knowing that, since the 20s of the XIX century, in Russian literature there have been enough works whose authors manifest the concern of adultery? Is it right that the works of Russian literature, types of characters, denouements, conflicts are original and alien to memory based on ideas and types dating back to the European Middle Ages? This article aims to provide answers to these questions.