Take me away: The two lovers are very active throughout the Song, traveling through the hills, to the city, and out to the country. This time, the woman invites the man to take her away with him and urgently expresses her desire to run. According to the three-character dramatic view, they might be running to escape the king, who has brought the young woman into his palace.
May the king bring me to his chambers (literally into his rooms): A common interpretation is that the woman anticipates an intimate relationship with King Solomon. However, while a literal Hebrew translation indicates she has been brought into Solomon’s rooms, it does not specify which rooms or imply it was her personal desire.
The text shifts here from the second person (“you”) to the third person (“his”), which might suggest two different men are involved—one being spoken to, the other being spoken about. In that case, the woman might want to run because she does not wish to be the king’s concubine.
If the Song is a collection of love songs without a narrative thread, it is not problematic for the lover to be identified here as the king and later as a shepherd (for example, Song of Solomon 1:7):
The language may or may not be intended literally
These titles, which are similar to other ancient Middle Eastern love poetry, may reflect the woman’s view of her lover at a particular time (for example, by indicating that he is a king in her eyes)
Different poems may refer to different couples
The woman frequently addresses the young women of Jerusalem (for example, Song of Solomon 2:7; 3:5). They are portrayed as close, trusted friends who are fond of the woman and respond to her requests. She often tells in them about her lover, and they praise the couple from their outside perspective (for example, Song of Solomon 5:1, 9).
O king, from the New Living Translation, is not in the Hebrew. Its addition reflects the view that the young man is the king rather than a shepherd.