Apart from providing basic terms and concepts of semiotics, this text aims to treat “lived reality” instead of what one may call a “semiotic reality” through signs’ behaviour in various circumstances. It will accordingly aim to focus on determined sub-fields of semiotics, which are, as we suppose, scientifically used to enhance artistic expressions’ meaning. Either taken from the ontological or epistemological viewpoint, semiotics can exemplify almost all life contexts and “realities. One concludes that more than one “reality” can exist in the “being” of semiotics itself. Such “realities", however, can be “lived” realities or “fictive” ones, i.e., a product of human imaginative capacities. Intriguingly enough, such facts make semiotics omnipotent owing to a straightforward reason: all mentioned realities (or scientific fields, if one wants to use the word metaphorically) are said to convey meaning. Specifically speaking, I will focus on different characters in "classical" works of art to enhance a semioticizing "act" within such given artistic contents. Semantics, in the general sense of the word, and meaning in the specific one, both represent final empiric results of each semiotics. The critical question is, however, how many “realities” does semiotics have? The text will focus on various conceptions of a "semiotic" reality as it is theoretically developed through diverse definitions of the "sign" notion.The purpose of this text is to name such "realities" and give them a due place in the framework of the semiotic theory itself.