“A villain who shares one's guilt is inevitably more attractive than a hero convinced of one's innocence.”

Numbers sanctify.
Monsieur Verdoux (1947); Chaplin in this line is quoting an older statement of Bishop Beilby Porteus: "One murder makes a villain. Millions a hero."

The Complete Neurotic's Notebook (1981), Theater

Letter X
The Nemesis of Faith (1849)
Context: I will be candid. I believe God is a just God, rewarding and punishing us exactly as we act well or ill. I believe that such reward and punishment follow necessarily from His will as revealed in natural law, as well as in the Bible. I believe that as the highest justice is the highest mercy, so He is a merciful God. That the guilty should suffer the measure of penalty which their guilt has incurred, is justice. What we call mercy is not the remission of this, but rather the remission of the extremity of the sentence attached to the act, when we find something in the nature of the causes which led to the act which lightens the moral guilt of the agent. That each should have his exact due is Just — is the best for himself. That the consequence of his guilt should he transferred from him to one who is innocent (although that innocent one he himself willing to accept it), whatever else it be, is not justice. We are mocking the word when we call it such. If I am to use the word justice in any sense at all which human feeling attaches to it, then to permit such transfer is but infinitely deepening the wrong, and seconding the first fault by greater injustice. I am speaking only of the doctrine of the atonement in its human aspect, and as we are to learn anything from it of the divine nature or of human duty.

Tears and Saints (1937)

Source: Death: A Poetical Essay (1759), Line 154. Compare: "One to destroy is murder by the law, And gibbets keep the lifted hand in awe; To murder thousands takes a specious name, War’s glorious art, and gives immortal fame", Edward Young, "Love of Fame", Satire vii, line 55.

Source: The Sweet Far Thing

A Foreword to Krazy (1946)
Context: This hero and villain no more understand Krazy Kat than the mythical denizens of a two dimensional realm understand some three dimensional intruder. The world of Offissa Pupp and Ignatz Mouse is a knowledgeable power-world, in terms of which our unknowledgeable heroine is powerlessness personified. The sensical law of this world is might makes right; the nonsensical law of our heroine is love conquers all. To put the oak in the acorn: Ignatz Mouse and Offissa Pupp (each completely convinced that his own particular brand of might makes right) are simple-minded—Krazy isn't—therefore, to Offissa Pupp and Ignatz Mouse, Krazy is. But if both our hero and our villain don't and can't understand our heroine, each of them can and each of them does misunderstand her differently. To our softhearted altruist, she is the adorably helpless incarnation of saintliness. To our hardhearted egoist, she is the puzzlingly indestructible embodiment of idiocy. The benevolent overdog sees her as an inspired weakling. The malevolent undermouse views her as a born target. Meanwhile Krazy Kat, through this double misunderstanding, fulfills her joyous destiny.

Source: Wall and Piece

Source: Steelheart