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 Bloomfield claimed the first connotation is an independent notion in linguistics. By this term, linguists invite us to have an innovative approach to meaning. According to this approach, words as utterances could be nourished by several levels of secondary signification. How lexis of a text could be interpreted has been studied through the lens of several theories,most notably: semiotics, poetics, semantics and discourse analysis. This article approached this issue from a rhetoric-semantic perspective.Methodology in this article is primarily hermeneutics and is concerned with an analysis of connotations in the field of semantics, and exploration of the meanings of interrogative statements. Through these two approaches, the author projects an analytical model to actualize a deeper study of the latent aspect of meaning or associations of utterances in the context of literature. This model includes four features which consist of semantic, lexical, phonetic and syntactic elements. First, this article concludes that connotative significance must be considered the same as the imageries of a text; Second, it shows how to analyze the significations of the text for the purpose of distinguishing the stylistic and semantic differences of two texts or authors.
 

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The Tragic story of Siavash is one the significant and remarkable stories in Firdausi’s Shahnameh. In this article, the authors will study this story through the lens of Critical Discourse Analysis and based on Van Leeuwen’s network of Social Actors. This is to show how social interactors have been portrayed and see how the poem has reproduced and represented the discourses by linguistic parameters. To this end, dialogic couplets have been singled out, categorized and analyzed. The findings show that Firdausi has equally used latent and manifest parameters. Therefore, concealment of the narrators is as important :as char:acterization and the development of the setting. Moreover, although the story of Siavash is an ancient narrative, it carries with itself Firdausi’s worldview and his emotional, ideological overtone and thus represents Iranian’s idealism, their zeal for identity and conflict between Good and Evil and the final triumph of the Good. The death of Siavash entails the vengeance of the Iranians, and the birth of his son, Keykhosrow, brings about the victory over Afrasiab.

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One of the popular stories in Shahnamehis Rustam’squestto Mazandaran in order to rescue Kavoos and his soldiers, which led him into killingDivSepid (the white demon), rescuingKavoos from captivity, and also entrusting Mazandaran to his children. This story, which is known as Haft-khan Rustam, has influenced a number of heroic poems, manuscripts of rhapsodies and oral/public narrativesof Shahnameh. The influence that these works have from the narratives of Rustam’s battle with the demons of Mazandaran can be classified into two categories: first, in many of these texts, are various narratives about or references to Rustam’sjourney to Mazandaran and his battle with DivSepid. Second, in some Iranian epic texts, be it poetry or prose, a number of demons or descendants ofDivSepid are present that each try to take revenge on Rustam or one of the members of his family. But, in all of these stories, they either have failed or were killed by the hero. Although these types of narratives have briefly been expressed in most of Iranian public prose literature, they have been expressed in more details in a number of texts including ShabrangNameh, ShahriyarNameh, and TheNew BorzoNameh. In this paper, first, these types of narratives in some heroic pieces of poetry are addressed. Then, common grounds or differences of these stories with the narrative of Shahnameh are analyzed.

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The tree has a special importance in Persian poetry. Religious, mythological, moral, mystical and political cultural elements have propositions influenced by trees. After water and the sun, the tree is an important phenomenon from which special literary elements and situations are created. With the emergence of various political events in the last century, on the one hand, and the creation of many ideas and artistic styles, on the other hand, the creative ways of connecting natural phenomena with human elements are highlighted. The image of the tree in the new poem finds a new and multifaceted expression. Modernist poets give special roles to non-human elements, and from this middle, the tree of human-like kinship is the one that shows the evolution of human society in its stature. By analyzing and describing the poetic evidence in a library method, it is revealed in the thought of the selected poets that the tree is a diagram of personal failures, love, a medium of perception, an indicator of freedom, an indicator of the ecosystem, symbolism, the image of death and friendship, reflection Tyranny and denial of human existence in the rule of tyranny.
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 The issue of "subject" is the most important indicator of the distinction between classical and modern literature. "I" in classical literature is often general and abstract, but in contemporary literature, following modern philosophy, I is individualized and concrete, in other words, an active subject. Perhaps the most obvious manifestation of this paradigm shift - especially in poetry - can be seen in the type of encounter with the "subject". Contemporary poetry, from its most superficial romantic aspect to its most complex philosophical aspect, expresses a self-sufficient subject whose origin is human-centered.Ahmad Shamlou is one of the poets whose"I" is subject in his poetry. This research deals with the hermeneutics of self/subject in his poetry by the method of qualitative content analysis and critical reading, by studying the collection of Shamlou's poems and selecting suggestive examples. Since this I/Self/Subject has been subjected to turbulences and changes during the six decades of writing poetry, the theoretical support of the discussion is based on these developments, and also deals with the philosophical subject which emphasizes on individual thought and consciousness. and to a subject that is a social construct; That is why it is a compilation of the theoretical support of the article is a synthesis of Michel Foucault's discussions about the hermeneutics of self and governing oneself and others, the theory of symbolic interaction that deals with the individual I and Me, the theory of existentialism that focuses on freedom, choice and responsibility. Finally, because "I" in Shamlou's political poetry is as an ideological pseudo-subject under submission of the Tudeh party, but in his philosophical poetry, the result of knowledge and awareness based on his own lived experience, and thinking on existence, man, life and death, as the supreme subject (Subject), which leads to the formation of the subject in Althusser's view.