It is no coincidence that during the same period in which Michael Field believed their work symbolized resurrection and renewal, the cultural moment of the 1890s encouraged artists to gain interest in blurring genre lines. This article suggests that the rise of a “decadent poetic drama,” to borrow Ana Parejo Vadillo’s categorization of Michael Field’s historical dramas, comes in part not, as the couple’s contemporaries and immediate antecedents argue, from a lack of form, but from formal experimentation. If Aristotle believed drama to be an imitation of action, and mimesis to be a showing (or representation) versus a narrative retelling of that action, Michael Field refashions the formal history of drama by playing with voice, rhythm, and structure. Further, I speculate that the couple experiments with ballad meter in The Tragic Mary to incorporate a social mimesis founded on female community and contagious transference, or transport. In this play, Mary Stuart’s three ballads enact an affective communal experience that enables expressions of female desire. The ballad meter, I suggest, enacts the role of affective transport with its contagious meter and rhythm.