THE ARGENTINE PAMPA AND THE CONSTRUCTION OF THE GAÚCHO IN EL GAÚCHO MARTIN FIERRO

Abstract

In this work, we analyze the poem "El gaucho Martín Fierro" by Argentine writer José Hernández (1834-1886), published in late 1872, and observe its relevance in dignifying the image of the gaucho who inhabited the Argentine pampas. "El gaucho Martín Fierro," more than a classic of Argentine literature, is considered a representative of pampas literature for narrating, in 395 stanzas imbued with popular vocabulary, the life of a gaucho and his sufferings, indignations, protests, and hopes.

In this sense, we will present the historical context of Argentina in the 19th century, a period of formation and establishment of its institutions, characterized by the disregard for indigenous and mestizo elements in the composition of its national values.

In opposition to and denouncing the exclusionary configurations of Argentine politics, especially during the Unitarian Party governments, comes José Hernández's poem, which, while not discussing the relevance of Indigenous culture, asserts the participation of the gaucho as an element of Argentine identity.

It is important to emphasize that our analysis of this work will be based on the critical perspectives of several authors on this poem of great importance to Latin American literature, such as Aldyr Garcia Schlee, who in his work *Simões Lopes Neto and the Literature of the Platine Peoples* (1989) emphasizes that the construction of the character Martín Fierro was not idealized from a European perspective, but rather portrayed literary language and focused on the pampas theme and its truest and most faithful aspects.

We will also draw on Celestino Sachet's perspective in The Satire of Antonio Chimango and Martín Fierro (1989), which tells us that José Hernández, with Martín Fierro, uses humor to create a strong social critique through caricaturization of the ridiculous.

Next, we will use Pablo Rocca's work, About Rural Representations (2009), as in this article the author reflects on the gaucho as an image of representation and the construction of a national figure.

Another reference used is Ángel Rama's work, Narrative Tranculturation in Latin America (1989), where the author focuses on Latin American literary creation in an original way, without being indebted to the European tradition.

Regarding Carlos Rizzon's text, Ficciones de un mundo dislocado (undated), the issue of language created by American authors is also addressed.

We will also use Walter Rela's work, "The Gaucho in the Socio-Political Context of the Rio de la Plata" (1989), in which he presents his perspective on the physical presence of the gaucho in the Hispanic territories of the Río de la Plata.

Next, we will seek to analyze this work through the lens of Borges in "Martín Fierro" (2005), who tells us that Hernández's work evokes the fiction of a long autobiographical payada, full of complaints and bravado completely alien to the traditional moderation of the payadores.

Furthermore, we will also work with the prologue of José Hernández's own work, "The Gaucho Martín Fierro," from an undated edition, to find a solid foundation for the development of our work and better direct our ideas.

To conclude our analysis, we will use the assumptions contained in Ezequiel Martines Estrada's work entitled Death and Transfiguration of Martín Fierro (2005). In his text, the author states that Martín Fierro “is an uprising against culture and literature, against the urban man, against the literature of the upper room; against the Literary Salon, its choirmasters and their works” (ESTRADA, 2005, p. 38).

In creating Martín Fierro, the writer was opposing the dominant culture, the literature, and the social groups that held power and lived in the cities. Through his hero Martín Fierro, Hernández denounces what, in 1872, was currently understood[1] as good literature. The author thus turns his back on the civilization that had been consolidated on false foundations. “He asserted, although it was worth little, that gaucho literature was the only thing connected to the land and the man who suffered on it” (ESTRADA, 2005, p. 38).

Through this work, Hernández gave voice to the excluded of the pampas. Over the course of its thirteen chapters, the lyrical self tells us the story of a gaucho, his people, and the injustices suffered by the social class that lived in the pampas and was persecuted by authoritarian regimes. In addition, during the militarization of the Argentine pampas, men were forced to serve on the borders. More often than not, gauchos were forcibly removed from their homes, leaving their families destitute to fend for themselves in the Argentine pampas.

This is how the misfortunes of our hero Martín Fierro begin. After serving three years in the army on the frontier[2] without receiving any pay and suffering countless injustices at the hands of his subordinates. Enduring all manner of hardship and being unjustly persecuted, over time, Martín Fierro realizes that luck would not change in his favor, which forces him to desert, transforming himself into a cunning social system. He seizes an opportunity and stealthily escapes the garrison where he was serving. Thus, he becomes a wandering Indian, destined to wander the pampas with an uncertain destination. Thus, he sneaks away to hide from his pursuers, spending the night in the open, wherever night can reach him.

[1] Relating to the Corrientes region, Argentina.

[2]In El gaucho Martín Fierro, the context that defines “frontier” refers to the confrontation between what he called “civilization versus barbarism”, that is, the occupation of the interior through the extermination of the indigenous population.