Certainly, glad to clarify the thoughts about the "assumption that the song is clearly sympathetic to Napoleon". First, I wrote "modern" to draw a distinction between how the song immediately appears to listeners now, and how the words themselves do not allow any such confidence about the position/attitude/view taken by or attributed to the narrator/commentator/singer. The view of the song and its sympathies given by Lighter was exactly mine, too, only the recording was Frank Harte's. Of course a singer's interpretation will be consistent with what that singer makes of the poet's intentions, and in many cases there wouldn't be any doubt about mood and so on. But when considering a song dealing with a controversial contemporary figure at a time of coercion, repression, popular discontent and indeed attempted, if abortive, uprising, then the kind of "care and circumspection" you mention becomes part of the analysis. In short, while I think it very likely that the maker of the song was sympathetic to Napoleon, nevertheless the words themselves, as printed in Stirling soon after Napoleon's second Abdication, leave the poet's own attitude in doubt. That is, "plausible deniability", one of those carefully considered expressions that reveal just how busy some officials are at doing really useful composition.

following this thread, however, in particular the images of nineteenth -century printings posted on 30th May by MartinNail,