Gaucho myths

Since Martin Fierro is seen as the “Bible Gaucha”, it seems relevant to use as the primary basis for our analysis the myth of the gaucho Matrero.   This poem was written by Jose Hernandez in 1872 under the title ‘The Gaucho Martin Fierro”and its sequel “Return of Martin Fierro” came out in 1879.

It has the particularity of not being correctly written in the form of Spanish culture, copying the sounds of the gaucho way of talking. Thanks to this epic and poetic text, the gaucho was no longer an anti-social person “outside the law” and won his image as a national hero of Argentina. The safest course is that this poem is the book of the Argentine national.
Firstly, this work reflects a very particular historical context, the principle of the conquest of the desert. We know that many gauchos were incorporated by force from the national army.  As that is what happens to Martin Fierro at the beginning of the poem.

Through this text, the author managed to make their voices heard and their proposals for an echo to the cause of the gaucho.  It tells the story of a heroic character whose gaucho and fundamentally independent so is appropriate as a representative of the Argentine national character. One complaint is its strong tone of criticism that the abuses the pariahs countryside.

Obeying only their desire for freedom, the hero will never agree to submit to their military chiefs, which caused his flight and his friendship with Cruz, a police officer who becomes delinquent to protect against an attack by their unfair peers.  Finally he leaves the ranch with Cross and decides to go to indigenous lands.

When reading this book, we realize some features of life and customs of the gaucho. The gaucho is very straightforward about their instruments: horse; Facon; poncho; transport; employment; shelter and defense.  Each instrument seems to have several uses, it is the horse and saddle company, and also serves to protect the fights in the back.

The poncho is used to in the cold and rain, to sleep and rolled in one arm to fight. As a food, the roast is perfectly complemented with a dietician mate, a bitter herb that is drunk in infusion in hot water.   In terms of architecture the gaucho was the grim Creole ranch, the fire served to “Mateare” roast cooking and heating in winter.

The round clay oven was used to make bread and other preparations, for example empanadas (the roast was done by men, other meals by women).  The vicinity of the ranch was used to locate a well known freshwater tank (especially if they had brocal) or “bucket”, “jaguel “not missing the water for animals” and Palenque to hold the horses.
The gaucho needs to master an art that has something of ballet and much of the game, where life is at stake: the duel Creole. Martin Fierro described duels, which are a mixture of cunning techniques of dance movements and betting courage.   Since the work of the gauchos do not require collective work, the only existing community is not working but is fun and the dances are the only social time for an isolated population with each other.

At first, the narrator asks the reader’s permission to sing. There is a need for an audience, a group that is sung to the depositary, and essential in the Martin Fierro are the dialogues between the singer and the audience. Symbolic language is very rich and the whole process of the narration refers to an ecological model of the cycle of nature.

The gaucho constantly lives in a space, its unique “inside” was the “inside your body.” Its habitat is the Pampas plains, which, geologically, is an alluvial plain that was filled by sedimentation.  It is important to know this because the topography Pampeana is a kind of “sea-embalmed,” as horizontal as a billiard table.

Due to insufficient precipitation of rain per year, the grass does not grow due to a lack of moisture reaching the forest.  As a result of all this the gaucho (and before him, the Indus) is a kind of nomadic surfer of green sea and infinity (”the desert” as it is called in the past century, since the existing trees were then planted man) where you have to follow the sun and the stars not to be missed.
Folklore

The economic base of ranching was conceived, from the end of s. XVII in the Banda Oriental (Uruguay) over a wide region of Argentina and the Rio Grande del Sur.  A unique culture area, substantially identical to the same local patterns.  This traditional horse and cattle culture, generated a similar human and social type, the gaucho of Argentina and Uruguay and the gaucho of Rio Grande do Sul.

Equestrian life, feeding a carnivore, the harsh weather, winds and ocean tonics of Pampa, reared animals lean, hard and quick. Some hold the hair with the Indus Vincha, others leave their hair loose and wear a belly-ass hat, all wearing the boot and the colt chiripa. The wilderness and solitude made him sullen and silent. Freedom and abundance made him proud, hospitable and honest. Conquistador gets the horse and guitar, the poncho of the Indus, the Vincha, mate, and the bowler. Their language is a mixture of archaic Castilian with indigenous elements, which are added later with Portuguese and African voices.

The gauchos were great horsemen and are also excellent in the practice of horse riding.
Often the gaucho’s horse was everything in the world to them. A gaucho without “freight” (horse) was no longer a gaucho, however this was very difficult because the field is rife with Argentine horses.   Their tasks consisted mainly of moving cattle between grazing, or even market sites such as the port of Buenos Aires. Dressage foals was another of their usual activities. The trainer was in a popular profession especially in