Eighteenth-century British culture witnessed the ascendance of the ideology of proper human form, a belief system interlinking concepts of the beautiful, the natural, and the good with proper bodily configuration. The relatively new discourses of physics, biology, and aesthetics, and the re-emergence of the ancient pseudo-science of physiognomy, contributed to the formation of this ideology. Many of the period’s literary texts endorsed and/or critiqued social expectations of the beautiful and the natural, as these established the popular assumption that a well-shaped and good-looking body instantiated the proper human form. This assumption in turn associated proper form with high moral standards, the possession of which determined an individual’s social respectability and acceptance. Such physiognomic thinking also equated deformity with depravity. However, authors such as Aphra Behn, Jonathan Swift, and Sarah Scott, each in their own way, exposed the complexities and contradictions inherent in such reasoning. Moreover, the novel – emerging as a genre during this century – assumed an important role by becoming a vehicle by which the culture of sensibility softened and appropriated certain aspects of the ideology of form by recasting defective and deformed characters as objects of pity and charity.