Abstract
Critics noticed that the short stories by Bruno Schulz show many colors when the writer was still alive, and then such opinions has been frequently confirmed. Yet, in spite ofthe differences among them, so far critical commentaries have failed to address an important problem of prototypical changes of semantic values which may take place in reference to particular color terms. Next to their cultural and symbolic features, as significant elements of the “verbal world picture,” they imply a whole set of phenomenological questions.
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