“Who Moved My Cheese?” By Dr. Spencer Johnson Literature Analysis Free Essay

This “Who Moved My Cheese” essay explores Dr. Spencer Johnson’s short story and its characters. Check it out if you need to write a “Who Moved My Cheese” summary essay or a literary analysis.


This book was written by one of the world re-known management expert Dr. Spencer Johnson. It was written to be a self-help book to help people realize themselves and their perspective of the always changing environment around them. It was also intended to help managers, and other personnel’s in the managerial positions to understand the reactions of their workers in changing the environment.

The author uses symbolism and metaphors to relay important messages to the readers so as for them to be able to have a closer relationship with the different lessons through the use of various examples. It uses simple ideas to depict the different aspects of peoples’ lives, both simple and complex and how we adapt to them.

The first part of the book talks of the writer but the second part is about friends who meet in a reunion and share about their lives. They then share in this ‘Cheese’ story that is narrated by one of their colleagues. This story is seen in the third part of the book.


This story ‘Who moved my Cheese’ is a tale of four characters; ‘Scurry’ and ‘Sniff’ who are mice and two little people ‘Haw’ and ‘Hem’ living in a “maze”. These characters are engrossed in their daily life of finding cheese that is supposed to quench their needs. This cheese that was hope for the four was always at the same place. However, the disappearance of this usual ‘cheese’ leads to unprecedented change in the characters lives and perceptions of living a successful life.

Due to the disappearance of the cheese, these four characters are faced with a challenge to adapt to the change in their maze. One of the characters who is a mouse learns of the occurrence of the change he had anticipated, he adapts very fast and with time prospers more than the others. The little people, on the other hand, sit back in desperation doing nothing about the change they were not ready to embrace.

The characters, however, pick themselves up and decide to react to the change but one character ‘Hem’ opposes any kind of change. Haw realizes that fear is holding him back from embracing change and decides to break out of it and adapt. Eventually, the little people adapt to the change and venture out trying to look for another cheese. The prosperous character, however, tries to share his achievement and what he had learned by leaving monuments on the walls of the maze.

Haws’ writings on the wall were meant to be a reminder to him and also to provide his friend Hew with encouragement and directions that he would use to find cheese on his own. These characters that succeed in this story learn very important lessons that lead them to their cheese and also make them prosperous (Coffin 2009).

Using the characters in his story, the author tries to bring out the picture of how different people in life deal with changes. For instance, “Sniff” represents people who anticipate change and adapt to it fast; ‘Scurry’ on the other hand, depicts an image of dashing into action when the change is imminent, ‘Hem’ reflects those who are opposed to change because of fear and “Haw” portrays those who slowly adapt to a change unless its positive.

The author also uses other examples to get people to relate with these characters, to gain skills of approaching various circumstances.

Life lessons

Some of the key points expressed in this story in reference to the life experiences of the characters were; change is natural and is paramount, it is important for one to learn to anticipate change and adapt fast in order to be successful.

In this, he gives an example of ‘Haw’ who finds cheese reserves in various stations had just been depleted because he was late. Other lessons include; fear can keep you from achieving, always have positive thinking, we are our own hindrances’ to achievement, be ready for change and enjoy it and also it is important to use the past mistakes to plan the future.

After sharing in the story, these old time friends start to evaluate themselves immediately by trying to relate to one or all the characters in the story. The narrated story is seen to take effect in these characters and also in their social setups like work and families. They find they have some common characteristics to these characters in the story and some of them even decide to make some resolution. One of the participants in the discussion ‘Frank’ evaluates himself and decides to be like the character ‘Haw’.

The interactions of the friends after the story, help them open up to one another about their matters. According to these discussants, the cheese is related to various issues in their lives. This shows the importance of this story in self-evaluation which is critical while making important decisions (Coffin 2009).


This is a captivating classical book despite numerous criticisms from other writers and the public. Some readers view the action of the managerial personnel as an attempt to mass distribute the books to their subordinates to distract company restructuring. However, the book is a good managerial guide and self-development tool for businesspeople and even those in employment. It introduces some practical ideas that can help an individual resolve conflict brought about by unexpected environmental changes.

It is useful for the management to understand its workers better and know how to handle them during times of change in the environment or even work terms (Johnson 1998). The author has used the metaphor ‘maze’ to symbolize our lives and the cheese, the different goals we aim to achieve. The book stands out as an eye-opener in every facet of our lives, be it in relationships, workplace, financial planning, or in emotional aspects of an individual (Johnson 2000).


Coffin, Amy. Who Moved My Cheese? Book Review: 2009. Web.

Johnson, M. D. Spencer. Who Moved My Cheese? “An Amazing Way to Deal with Change in Your Work and in Your Life”. United States: Putnam Adult, 1998.

Johnson, M. D. Spencer. Who Moved My Cheese? “An Amazing Way to Deal with Change in Your Work and in Your Life“. Vermilion UK: Random House Group Ltd. 2000.

William Shakespearean Comedy “A Midsummer Night’s Dream”

A Midsummer Night’s Dream (henceforth referred to as MND) is one of the most popular Shakespearean comedies, most frequently performed on stage. The play has undergone numerous changes since 1595 when William Shakespeare penned it. The play has been performed on stage as a musical, or ballet, and off course films. Further, the play has a versatility of being interpreted as per the director who can portray it as a dark nightmare or a light fantasy or a slapstick comedy.

This paper interprets the play in a different way and projects the sex and eroticism present in the drama. The aim of the paper is to ascertain the sexual elements in the drama and then narrow down the choice to one scene where nudity can be used for stage production.

The paper in the process of selecting, will demonstrate the reasons for the particular choice explaining the scene properly. This paper proposes that the nudity that can be used in the play on stage, if it has to be used for just one scene then it should be Act II, Scene 2 and Act IV Scene 1, the reason for which are here forth explained.

MND is believed to be one of the most erotic plays ever written by Shakespeare. Except for Troilus and Cressida, the brutal eroticism expressed in the play is overwhelming. In MND, Shakespeare uses numerous metaphors and occasions through which he refers to coitus. Two such scenes that readily come to our mind are the relation between Titania and Bottom and the other is the scene of the four lovers in the woods.

It should be noted that the woods in MND is not just a nest of nature or a version of Arcadia keeping up with the romantic tradition, but it is a forest that is a dwelling place of the beasts, fairies, and lamias. And in this forest, the fairies, the witches, and the sorcerers have access to all that is needed for their magical pursuit:

“You spotted snakes with double tongue,

Thorny hedgehogs, be not seen;

Newts and blindworms, do no wrong,

Come not near our Fairy Queen.” (Shakespeare Act II, Scene 2)

On eof the characters that has been to most of the sexual incantation in the play is Titania. She is presented in a scene where she lies peacefully within a beautiful meadow with thyme and roses, but the fairies in her train sing a frightening song:

“Weaving spiders, come not here;

Hence, you long-legg’d spinners, hence.

Beetles black, approach not near;

Worn nor snail do no offence.” (Shakespeare Act II, Scene 2)

The song actually is not a lullaby to Titania in her sleep but is filled with frightening beasts like the “long-legg’d” spider, “black beetles”, and worms. So the lullaby actually forecasts horrid and gory dream instead of a pleasant one.

In a way these dreams conjured up by the train of fairies is not random to MND, but is set on the medieval and Renaissance belief that impotence can be cured by potion concocted from pulverized spiders, bats, and cartilage that helps in curing impotence or woman’s afflictions. There in sleep Shakespeare helps in conjuring a form of sexual neurosis through the creatures, which create a feeling of aversion.

The use of beasts to demonstrate the eroticism in the play presents is optimum when Oberon threatens to put the love potion on sleeping Titania and make her fall for any beast she first beholds:

“Having once this juice,

I’ll watch Titania when she is asleep,

And drop the liquor of it in her eyes;

The next thing then she, waking, looks upon

Be it on lion, bear, or wolf, or bull,

On meddling monkey, or on busy ape,

She shall pursue it with the soul of love.” (Shakespeare Act II, Scene 2)

The threat towards Titania and her unaware amour is more severely plotted by Oberon when, to further punish her, he wishes that she fell for a donkey. Titania is the demonstration of the brutal eroticism present in the play as when Oberon wishes her to fall in love with Bottom and especially his donkey’s head is portentous in nature: “Be it ounce or cat or bear, / Pard, or boar with bristled hair… Wake when some vile thing is near.” (Shakespeare Act II, Scene 2).

Therefore, the animals chosen by Shakespeare in his erotic bestiary has abundant erotic potential and helps him to portray sexual demonology. Titania in her dream sees pure animalistic as a part of Oberon’s design. Bottom in the form of an ass does not actually represent idiocy or stupidity but absolute sexual potency as per the belief prevalent during the medieval ages and Renaissance. This act in a way demonstrates the strong narcissistic eroticism that MND holds.

In Act II, scene 2, the confusion between the four lovers creates a sexual tumult in the play. The scene has to be presented with sex that is pleasant to watch with beautiful bodies that are presented extensively. Therefore, in this scene as Lysander and Hermia enter the stage weary from the travelling and struggle of elopement, they decide to rest, with Titania sleeping in the background, unnoticed.

Lysander on entering the stage expresses his interest to lie down next to Hermia and says: “One turf shall serve as pillow for us both; / One heart, one bed, two bosoms, and one troth.” (Shakespeare Act II, Scene 2) and as Lysander approaches Hermia to “lie” with her in the scene, his hands approaches closer to her and reveals her décolleté, eventually taking her breasts in his embrace, and in the end Lysander can be found half naked on the stage, except for a loincloth.

The physical closeness between Hermia and Lysander can be emphasized with Lysander’s physical urge to have Hermia sleep with him. The physical proximity between the two lovers can be further emphasized with Lysander trying to get closer to Hermia as he pledges to get closer to her in bed as their “hearts” are intertwined into one. The lighting on the stage will be presented in such a manner that only the audience and not the objectionable parts see the unobtrusive nakedness of Lysander.

The audience, off course realizes that Lysander is naked and the actually see most of it. Using this technique nudity can be presented on stage without becoming disgusting. In a pleasant way, the lovers will chase around one another signifying the superficial eroticism of MND. Therefore, the more overt sexual scenes that one may imagine while reading this scene can be portrayed subtly with partial nudity and implied eroticism.

The sexual intonations can be underplayed in the scene with Lysander at once agreeing to Hermia’s request to make his bed afar, but the trickster Puck actually puts his body close to Hermia’s when he drops the liquor on the eyes of Hermia. In another part of the stage Helena falls on knees in order to woo Demetrius and one can show on stage that in her urgency to win his love, she makes sexual advances towards him.

This too will show a different angle to the sex and nudity shown on stage wherein not only men but women too were eager to express their love and gain love through sexual favour. As Demetrius exits the stage, Helena sees Lysander and Hermia lying on ground and wakes Lysander.

Lysander, infected by the love potion, instantly falls for Helena and expresses his undying love for her. At such an unexpected advance, Helena is taken aback, but her own décolleté is revealed and Lysander expresses his love with physical passion towards the fear stricken maiden.

The other act that may be used to show the sexual intonations and nudity on stage is Act IV, scene 1 where Shakespeare explicitly mentions coitus between Bottom and Titania. This is a more explicit portrayal of sexuality in the play and therefore nudity can be brought forth without any hidden symbolism.

This scene describes the sexual relation between Titania, the fairy queen with Bottom, the mechanic transformed magically to a man with a donkey’s head by Oberon and the reason was a punishment to Titania for her refusal to hand over the Indian boy the latter wanted.

Therefore, the relationship between Titania and Bottom as portrayed in the scene will clearly pass as an erotic visual. In this particular scene, Titania seduces Bottom in the first place when she is awakened from her dream, almost offensively, and expresses her overt lust to have sex with the beast. Nudity in this scene is apparent in the very theme of the act.

The eroticism is forcefully defined in the scene where Titania treats Bottom’s tail as his phallus and engages in the act of stimulating his desires. Therefore, the message that can be portrayed in this scene is that there has been an overt sexual undertone to the characters and the characters of Titania and Bottom can be shown cuddled in bed with bare torso. This will enhance the sexual potency of the message brought forth through the play.

The strange lovers in Bottom and Titania will couple up on the stage, enacting a loud sexual act that would demonstrate the eroticism budding between eh two characters. Therefore, in these scenes, Titania will reveal her genitals to Bottom, he will be urged to engage in coitus with her violently.

This act when shown on stage will demonstrate the eroticism of MND. However, even in this scene nudity can be avoided in stage just by not showing any more skin to the audience than required, i.e. maybe only to the shoulder as the play itself has sexual connotation smeared all in it. therefore, if Titania reveals herself only to Bottom turning her back towards the audience, they actually do not see her naked, but realizes what happens, and Bottom can engage in the scene of love making without exposing any skin at all.

From the two scenes discussed in the above essay, it is apparent that Act IV, Scene 1 definitely has a clear sexual eroticism laid in the original play, however, the nudity on stage for this scene would imply a very overt and forceful representation of coitus between Bottom and Titania that may seem vulgar to the audience. However, if nudity is used in Act II, scene 2, it can be handled more subtly for the sexual message is not so overt and therefore will not come out to ferociously.

Works Cited

Shakespeare, William. A Midnight Summer’s Dream. NA: Harper Collins, 1595. Print.

South-Eastern Asia: Political, Economical And Social Trends

South-Eastern Asia is one of the most actively developing regions in the world. In spite of the fact that the majority of countries in this region are traditionally discussed as underdeveloped in relation to the economic and political factors, the situation has changed significantly during the 2010s (Butts, Mitchell, & Berkoh, 2012, p. 91). Today, Singapore, Indonesia, Thailand, and Malaysia among the other countries of the region attract millions of investments and thousands of tourists and migrants. That is why it is possible to state that certain changes in politics, economics, and society have influenced the observed progress in the region.

The first point to discuss is the political changes. Several states of the region make only the first steps in developing as free democratic states as a result of overcoming military regimes. Consequently, the recent and current political reforms in such states as Vietnam and Timor-Leste demonstrate that these countries start at the path of development according to the Western political patterns and following the principles of democracy (Butts et al., 2012, p. 92). Furthermore, the governments in the South-Eastern Asian countries also propose regulations and programs that support the development of business in the region.

Thus, the economic growth in the countries is observed because of changes in the states’ policies regarding international trade and because of the active industrialization. Today, Singapore attracts billions of capitals from all over the world because of its status as the economic center of the region (Liang, 2005, p. 49). Furthermore, the rates of foreign investments increase in Thailand, the Philippines, and Malaysia because of the changes in policies regarding the development of businesses.

Many large corporations choose the South-Eastern Asian region in order to invest in human resources and raw materials there (Daniels, Radebaugh, & Sullivan, 2010, p. 68). As a result, focusing on economic modernization, the leaders of the states concentrate on changing policies and regulations related to the development of the market, tourism, and hospitality industry. In addition, economists in these states develop strategies to attract more foreign investment and support the actively developing industries that were not previously supported in the former agrarian states.

Referring to the current social changes observed in the region, it is important to pay attention to the increased growth of population because of the high birth rates, low levels of mortality, and high levels of migration. During recent years, the population growth in the South-Eastern Asian countries is discussed as a social anomaly.

However, these remarkable changes lead to the progress of urban life and to the modernization of transportation systems and infrastructure. The current population of Singapore, Indonesia, Thailand, and Malaysia is highly diverse in relation to ethnic, cultural, and language aspects and factors (Achwan, 2012, p. 94). That is why focusing on the unique ethnic composition of the region, the governments propose new educational and social programs aimed at the development of a diverse society.

From this point, the observed changes in the political, economic, and social lives of the nations in the South-Eastern Asian region can be discussed as contributing to the current growth in such countries as Singapore, Indonesia, Thailand, Philippines, and Malaysia among others.

These countries became interesting for foreign investors and corporations, and the governments began to pay more attention to the economic potential of these countries as the centers of tourism. In spite of the fact that these states still suffer from high levels of inflation, poverty, corruption, and inappropriateness of banking systems, the observed changes in these areas support the idea that the identified problems can be overcome during the next years.


Achwan, R. (2012). Hybridising state and ethnicity in an Indonesian region. Asian Social Science, 8(6), 94-103.

Butts, H., Mitchell, I., & Berkoh, A. (2012). Economic growth dynamics and short-term external debt in Thailand. The Journal of Developing Areas, 46(1), 91-111.

Daniels, J., Radebaugh, L., & Sullivan, D. (2010). International business. New York, NY: Pearson.

Liang, M. (2005). Singapore’s trade policies: Priorities and options. ASEAN Economic Bulletin, 22(1), 49-59.

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