The first form of outward monstrosity we will consider is physical deformity. In this category fall creatures, villains, and monsters that are not supernatural or magical in any sense, but are monstrous nonetheless. Some of the most popular and seminal films of the horror genre have protagonists and antagonists which fall into this category. Monstrosity in terms of physical deformity does not mean that a creature is monstrous in nature -- far from it. In fact, it simply means that their monstrosity lies in their physical appearance. Physical deformity is, understandably, a broad definition. However, it encompasses almost any departure from the normal human form. 

For example, in The Hunchback of Notre Dame, Quasimodo is -- as stated in the title -- a hunchback. His misshapen face and crooked spine set him apart from the crowd, and cause much of the rest of polite society to fear and shun him. This is a theme that we will find commonly among creatures of the genre of physical deformity. As stated above, Quasimodo's monstrosity is purely physical. He possesses the countenance of a monster, but the soul of a saint, and is truly a gentle and benevolent creature. Everything he does over the course of the story is simply to try and save his beautiful love interest, Esmeralda, from the evil Frollo. 

The most popular version of this story is portrayed in the 1939 version of the film. However, the story has been remade numerous times, most notably (for at least the current generation of college students) in the 1996 Disney animated adaptation of Victor Hugo's original novel. In contrast to many other films representing monstrosity, in the 1939 version Quasimodo saves the day by throwing Frollo off of the bell-tower in the film's dramatic climax. However, the original novel has a much darker and more monstrous ending, where both Quasimodo and Esmeralda are tragically killed. This story has been watered down slightly more each time is has been represented in film, and eventually was reduced to the happy, Disney version targeted for children. 

Quasimodo is mistreated by society around him. This can also be seen in Mary Shelley's classic novel, Frankenstein, which has also been transferred to the big screen in a number of different adaptions. Victor Frankenstein's creature is built from a conglomeration of reanimated corpses, and therefore possesses a monstrous countenance. Again, while the monster's actions are monstrous toward the end of the text, a strong argument can be made that the monster is not inherently inwardly monstrous. Its monstrosity results as a response to the cold and cruel treatment that the remainder of the world has shown it. Frankenstein's creature is rejected by its creator in the very first moments of its life, and this begins a cascade of negative experiences that drive the creature to its murderous acts. 

Similarly also to The Hunchback of Notre Dame, there are a number of departures between the novel and the corresponding films. In this case, however, the novel likely has a more positive tilt than the films with respect to the creature's monstrosity. In the original text, Frankenstein's creature has the capacity to speak and tell its side of the story. Whereas in the film the creature's speech is taken away, and this effectively removes its humanity, rendering it fully a monster hell-bent upon the destruction of its creator and all that he loves. 

The representation of physically deformed creatures and monsters as being outwardly monstrous, yet inwardly good continues throughout numerous examples. However, some of the most salient can be found in two more of the examples we have considered as a part of this course. In Shakespeare's The Tempest, Caliban is presented as a malformed wild man. Here the concept of the hybrid becomes apparent. Oftentimes within Sheakespeare's work we see characters that fall somewhere in between humanity and the animal kingdom. In definition, "Interspecific animal products are the result of crossbreeding that has violated the rule of endogamy, the result of unions between dissimilar beings" (Canguilhem, 30). His appearance is rather universally monstrous, yet his actions are anything but. Again, this dichotomy is present when he aids the two lovers, Miranda and Ferdinand, in their quest for the survival of their relationship when caught between the twin evils of Miranda's father, Prospero and the arriving party from Naples. 

In Tod Browning's Freaks, as well, the members of the freak show are inherently benevolent creatures. They are a family, and they get along quite well with one another. While the terrifying climactic scene sets them as murderous, monstrous beings out for revenge, they only do so when forced to. Cleopatra's attempt to kill Hans threatens their family, and they render Cleopatra a freak herself as punishment. Defending one's own is not monstrous in its own right, similarly to the way in which the "freaks" are inherently good people, despite living in a dangerous, cruel, and monstrous world. 

Of all the monsters represented in this anthology of monstrosity, those possessing physical deformity are in fact the least monstrous. While their outward appearance is frightening, unsettling, or outside the generally accepted societal norms, inwardly they are almost universally benevolent and just wish to fit in, be accepted, and be treated with love and respect.