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The faults and inconsistencies found in semantics have undermined the place of this scientific field in literary studies and its importance in understanding the beauty of the texts and its capacity in analysis of literary issues. These faults often arise from lack of scientific method and clear definition of the principles of semantics. The aim of this research is to review, critique and explain 'omission and mention', which is one of the major questions of semantics. ‘Mention and omission’ are among the most important rhetoric tools of the Persian poets and writers variously and repeatedly used over the course of literary history. Therefore, its explanation along with the analysis of its rhetorical effects has been at the center of attention since the early periods

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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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One of the elements in Persian poetry and sonnets (Ghazal) is penname, which in addition to marking poetry in the name of the poet, sometimes has an amphiboly to another means; but in the poetry of poets such as Hafez - which have a special and coherent intellectual system - in the form of a main metaphor or central metaphor, penname is involved in determining their intellectual system. In this article, Hafez's pennames are analyzed from the perspective of semantic components, such as the confrontation with the specific vocabulary, which are derived from Hafez’s intellectual and biological sensibilities, in the text of the poem. It concludes that his poetic name is also influenced by his language and thoughts; and by means of the meaningful capacity of some words, he serves the translation of the structure of thought and the semantic system of his poems; and also the penname, Hafiz, is in fact the central metaphor of his sonnets, and plays a central role in his intellectual and discursive system.