Renga, that it had the humorstico objective, was practised for Basho with its disciples during the trips. Basho from defined it there as hokku estrofe of three lines that initiated renga and of haicai excessively estrofes. Hokku started to have greater depth and to also focus the moment of haicai, that is, to demonstrate to the emotion and sensation of that we speak in such a way and that one haicai in its essence must possess. In the end of century XIX, Basho already was considered a myth, and other masters of haicai had appeared giving new route for them. At this moment the room appears master, Masaoka Shiki, that combining haicai and hokku, would appear haiku, that it was become popular and if became an independent form of renga. HAICAI IN BRAZIL, AESTHETIC AUTHORS AND the first Brazilian author of Haicai was Afrnio Peixoto, in 1919, through its Brazilian Popular Trovas book.
Endowed with fascinating personality, Afrnio arrested the attention of the people and audiences for its intelligent words and the domain of oratria. Afrnio Peixoto got, at the time, great critical approval of and popular prestige. In this Afrnio Book it prefaced: ' ' The Japanese possess an elementary form of art, simpler despite popular ours trova: he is haikai, word that occidental we do not know to translate seno with emphasis, is the lyric epigrama. They are tercetos brief, verses of five, seven and five feet, to all dezessete syllables. In these molds they leak, however, emotions, images, comparisons, suggestions, sighs, desires, dreams of enchantment intraduzvel' '. With its proper interpretation of the rigid structure of metric, you rhyme and heading, appeared Guillermo de Almeida, who popularized haicai, considering a project: the first verse rhymes with third, and as the verse possesss one rhymes intern (second it rhymes with the seventh syllable). Guillermo de Almeida, in the year of 1929, had published Various Poetry, but the book was not exclusively of haicais.