In its analysis of the whole corpus of tragedy in Britain from 1695 to 1740 this thesis divides into sections dealing with a survey of research already undertaken in the field; an analysis of the recurring patterns in the plays throughout the period; a study of the settings for tragedy and a discussion of the plays with Ancient (Greek and Roman), European, Middle Tu.stern and British (ancient, historical and modern) settings; a study of the adaptations made during the period; and analyses of the tragedies of Nicholas Rowe and George Lillo, the two best and most significant writers of tragedy. The attempt by George Lillo and one or two writers before and after him to invigorate the dying form of tragedy is seen to fail, and by 1740 it is clear that the best writers of tragedy are interested in verse rather than in stage entertainment. Tragedy overcomes the influence of vivid visual attractions of the opera of 1700 only to become bogged down in the undramatic verse of 1740. Writers of tragedy in 1740 try to be much simpler than writers in 1695, and tragedy of action at the turn of the century turns into tragedy of discussion and contemplation, the herald of the closet drama of the nineteenth century. / Thesis / Doctor of Philosophy (PhD)