The suspicion must be that either the social structure of the time (at any given time) or the power of capital enchains a far greater share of the populace than it liberates, so that the dream, usuall y forced to be hidden inthe interests of survival, is of revolution (as in black-face dance and the "king for a day" traditions in many English rurual communities).

The songs, then give a voice to the oppressed, who see or wish to see revolution flourish - but often, as the romantic highwaymen, die, which in turn justifies the "decision" to remain unfree.