As an author crafts a story, deliberate choices are made. It’s almost like standing behind a video camera—deciding exactly what the audience will see in each frame. When needed, the camera pulls back for a wide, “establishing shot” to provide setting and context and summarized background. That is what we found in the opening verses of the book of Ruth.

But to help readers experience the characters and feel their emotions, the author “zooms in” for a close-up. Characters are described in more detail. We see their actions and body language and idiosyncrasies. We listen to dialogue that moves the action and exposes motivation.

Today’s passage is the first of many “close-up scenes” in the book of Ruth. Naomi and her two daughters- in-law had left Moab and began the journey back to Bethlehem. The author doesn’t reveal whether the women had discussed this arrangement prior to their departure. Suddenly Naomi stopped them in their tracks and expressed second thoughts. Perhaps the journey had given her time to see the situation from Ruth and Orpah’s perspective. The two young widows were leaving their home just as Naomi had done during the famine. She knew what struggles and loneliness they would face, and she intended to spare them additional pain. She told them to return to their “mother’s home” (v. 8). It is interesting that she used “mother’s” rather than “father’s”—since their fathers would have been their primary source of provision and protection.

Then, Naomi pronounced a blessing on the young widows (v. 9). She asked Yahweh to shower hesed on the women, just as they had already shown hesed to her and their husbands. It couldn’t have been easy for Naomi to send them home. Their departure would seal her lonesome fate. But releasing them was Naomi’s own act of hesed—even in her grief.

As an author crafts a story, deliberate choices are made. It&rsquo;s almost like standing behind a video camera&mdash;deciding exactly what the audience will see in each frame. When needed, the camera pulls back for a wide, &ldquo;establishing shot&rdquo; to provide setting and context and summarized background. That is what we found in the opening verses of the book of Ruth.
But to help readers experience the characters and feel their emotions, the author &ldquo;zooms in&rdquo; for a close-up. Characters are described in more detail. We see their actions and body language and idiosyncrasies. We listen to dialogue that moves the action and exposes motivation.
Today&rsquo;s passage is the first of many &ldquo;close-up scenes&rdquo; in the book of Ruth. Naomi and her two daughters- in-law had left Moab and began the journey back to Bethlehem. The author doesn&rsquo;t reveal whether the women had discussed this arrangement prior to their departure. Suddenly Naomi stopped them in their tracks and expressed second thoughts. Perhaps the journey had given her time to see the situation from Ruth and Orpah&rsquo;s perspective. The two young widows were leaving their home just as Naomi had done during the famine. She knew what struggles and loneliness they would face, and she intended to spare them additional pain. She told them to return to their &ldquo;mother&rsquo;s home&rdquo; (v. 8). It is interesting that she used &ldquo;mother&rsquo;s&rdquo; rather than &ldquo;father&rsquo;s&rdquo;&mdash;since their fathers would have been their primary source of provision and protection.
Then, Naomi pronounced a blessing on the young widows (v. 9). She asked Yahweh to shower hesed on the women, just as they had already shown hesed to her and their husbands. It couldn&rsquo;t have been easy for Naomi to send them home. Their departure would seal her lonesome fate. But releasing them was Naomi&rsquo;s own act of hesed&mdash;even in her grief.

Today in the Word is a daily audio devotional available via podcast. Today in the Word features solid biblical content and study that models the mission and values of Moody Bible Institute.

Today in the Word Devotional

 Naomi’s Blessing

https://api.omny.fm/orgs/a8cdbf10-d816-4c77-9e79-aa1c012547e1/clips/b5e5a963-b67a-4207-88d4-b41101182c49/transcript