Antigone, a story of broken family ties and conflicting motivations, can be twisted to tell two entirely different stories, and this is what happened when Anouilh rewrote Sophocles' classic. While both Sophocles and Anouilh told the story of Antigone, through subtle changes in the style of the drama, each author was able to produce a product that told a significantly different and intimate story, conducive to their personal or political situation at the time. one of the various components of the two versions of Antigone that distinguish the pieces with only slight changes. Both Sophocles and Anouilh begin their plots at roughly the same time, soon after the end of the Theban civil war with the death of the city's two kings, Polyneices and Eteocles, but the tones at the beginning of the two pieces are wildly contrasting. In the modern version of Antigone, written by Anouilh, the audience is introduced to the world of Thebes by a prologue that goes beyond creating the background of the play, as in the case of the classic with its background note. Instead, the prologue introduces each character and the role they will have to play within the drama (Anouilh 3-6). With this technique, and with similar instances where the chorus breaks the fourth wall, the audience is constantly reminded that they are watching a show rather than becoming absorbed in the plot as should happen with the classic, resulting in a near-constant state of anticipation due of the greatness of the prefiguration. For example, from the beginning the audience knows that Antigone will be estranged from her sister and that Antigone and her fiancé Haemon will die (Anouilh 4). While the audience does not have to wait long… middle of the paper… happy life with Haemon, but she changes her mind when happiness really becomes the topic of conversation, and she remembers that she is far from happy (Anouilh 47). This change of heart leaves Antigone begging for the death she receives, until, near the end of the play, she admits that she doesn't know why she is dying (Anouilh 57). Looking at this through symbolism, it is easy to see that, while Anouilh may not have been a Nazi sympathizer, he saw the practical aspect of cooperation with those in power, and that there are always two sides to every story. While Sophocles and Anouilh's versions of Antigone told much the same story, of a girl fighting for her brother's honor, their different styles drastically changed the end result for the reader. However both were conducive to their intended purposes and therefore must be considered successful works of art.