So he cannot be a hero as MartĂn Fierro annihilates multiple people, has fights, does not respect the authorities, among many other things. So you could explain him as an antihero, since as the definition of antihero states: they are imperfect and have human flaws.
I think that among the much more romantic characteristics of MartĂn Fierro is that he stands out from the conformist society. Since Fierro sings his narrative, it accentuates the aesthetics of the human experience. Before joining the army, he lived on the pampas, where he sang his song and loved his family. Those of us who read can see in this that Fierro has his feet on the ground, ready to live a life that he works with what he values. In other words, he does not seek to transform himself into something that he is not. Fierro also thinks about his story in a style reminiscent of epic poetry. He sees the life of the gaucho as very difficult, but free, and reveals the machismo associated with his identity: «I am a bull in my rodeo / and a bull in the rodeo of the other, / I have always considered myself a good guy. / and if you want to test me, / let the others sing / and we will see who is lessâ (v. 61-66). For Fierro, the gaucho is a man who knows how to take care of himself in the harsh environment of the Argentine countryside, not even the sun burned my forehead» (v. 83-84). Fierro also uses his life struggles to compare his actions with those of the government. He tells how he was forced to fight against the Indians and leave behind his children, his wife and the ranch. Unfortunately, the government never thanked him for his service: «and he walked up and down / without needing to whistle» (v. 1142-1143). These lines could be subtle anti-government advertising by JosĂ© HernĂĄndez, who criticized the government for taking advantage of true and hard-working gauchos
The day of tradition is celebrated He was born in this country on November 10, the day JosĂ© HernĂĄndez, creator of MartĂn Fierro, was born, among the most representative projects of Argentine gaucho literature. Now, we transcribe an article published in ClarĂn Cultura y NaciĂłn, in 1972, about the meaning of singing in MartĂn Fierro.
In MartĂn Fierro, the song has an exceptional symbolic dimension. At this precise moment in the article it is invoked before singing to the blessed of heaven now God. In addition to this, several singers, they say, could not sing because «they got tired of playing», which indicates that singing needs a kind of catharsis. The song is also related to human life, because people are born singing and die singing, and the song is always free to âshake the grassâ. Even the nature of the song is often associated with spring and, in general, with the flow and urgency of the song.
âI am not a cultured singer // but if I start to sing // I don’t have the time to finish // and I grow old singing: // The verses emerge from me // like spring water.â
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By Ana Clara Isi.*
Ah, your misfortunes,