is the fact that tragedy characters were nearly always mythical characters. This limited the character, as well as the plot, to the already well-known myth from which the material of the play was taken. The other characteristic is the relatively short length of most Greek plays. This limited the scope of the play and characterization so that the characters were defined by one overriding motivation toward a certain objective from the beginning of the play. However, Murray clarifies that strict constancy is not always the rule in Greek tragedy characters. To support this, he points out the example of Antigone who, even though she strongly defies Creon at the beginning of the play, begins to doubt her cause and plead for mercy as she is led to her execution. Several other aspects of the character element in ancient Greek tragedy are worth noting. One of these, which C. Garton discusses, is the fact that either because of contradictory action or incomplete description, the character cannot be viewed as an individual, or the reader is left confused about the character. One method of reconciling this would be to consider these characters to be flat, or type-cast, instead of round. This would mean that most of the information about the character centers around one main quality or viewpoint. Comparable to the flat character option, the reader could also view the character as a symbol. Examples of this might be the Eumenides as vengeance, or Clytemnestra as symbolizing ancestral curse. Yet another means of looking at character, according to Tycho von Wilamowitz and Howald, is the idea that characterization is not important. This idea is maintained by the theory that the play is meant to affect the viewer or reader scene by scene, with attention being only focused on the section at hand. This point of view also holds that the different figures in a play are only characterized by the situation surrounding them, and only enough so that their actions can be understood. Garet makes three more observations about a character in Greek tragedy. The first is an abundant variety of types of characters in Greek tragedy. His second observation is that the reader or viewer's need for characters to display a unified identity that is similar to human nature is usually fulfilled. Thirdly, characters in tragedies include incongruities and idiosyncrasies. Another aspect stated by Garet is that tragedy plays are composed