1 Timothy 4 Fables and Old Wives Tales

Clement of Alexandria Instructor 3

The Word, testifying by the prophet Samuel to the Jews, who had transgressed when the people asked for a king, promised not a loving lord, but threatened to give them a self-willed and voluptuous tyrant, "who shall," He says,

"take your daughters to be perfumers, and cooks, and bakers," ruling by the law of war, not desiring a peaceful administration. And there are many Celts, who bear aloft on their shoulders women's litters. But workers in wool, and spinners, and weavers, and female work and housekeeping, are nowhere.

But those who impose on the women, spend the day with them, telling them silly amatory stories, and wearing out body and soul with their false acts and words. "Thou shalt not be with many," it is said, "for evil, nor give thyself to a multitude; " [ Ex. xxiii. 2.]  for wisdom shows itself among few, but disorder in a multitude.

And these women are carried about over the temples, sacrificing and practising divination day by day, spending their time with fortune-tellers, and begging priests,

and disreputable old women;
and they keep up
old wives' whisperings over their cups,

But refuse profane and old wives fables, and exercise thyself rather unto godliness 1 Tim 4:7

learning charms and incantations from soothsayers, to the ruin of the nuptial bonds.
And some men they keep; by others they are kept; and others are promised them by the diviners.

They know not that they are cheating themselves, and giving up themselves as a vessel of pleasure to those that wish to indulge in wantonness; and exchanging their purity for the foulest outrage, they think what is the most shameful ruin a great stroke of business.

And there are many ministers to this meretricious licentiousness, insinuating themselves, one from one quarter, another from another.

For the licentious rush readily into uncleanness, like swine rushing to that part of the hold of the ship which is depressed.

Whence the Scripture most strenuously exhorts, "Introduce not every one into thy house, for the snares of the crafty are many."  And in another place, "Let just men be thy guests, and in the fear of the Lord let thy boast remain." Away with fornication. "For know this well," says the apostle, "that no fornicator, or unclean person, or covetous man, who is an idolater, hath any inheritance in the kingdom of Christ and of God."  Eph. v. 5.

But these women delight in intercourse with the effeminate. And crowds of abominable creatures (kinai/dej) flow in,

of unbridled tongue, filthy in body, filthy in language; men enough for lewd offices,
ministers of adultery, giggling and whispering, and shamelessly making through their noses sounds of lewdness and fornication to provoke lust,  endeavouring to please by lewd words and attitudes, inciting to laughter, the precursor of fornication.

1Tim. 4:1 Now the Spirit speaketh expressly,
        that in the latter times some shall depart from the faith,
        giving heed to seducing spirits,
        and doctrines of devils;


G4107 planees plan-ay'-tace From G4108 ; a rover ("planet"), that is, (figuratively) an erratic teacher:wandering

2. Pass., wandering, roaming, fickle, “poikilon pragm' esti kai planon

Poikilos i^, ē, on, 2. of Art, p. humnos a song of changeful strain or full of diverse art, Pi.O.6.87; “poikilon kitharizōn” Id.N.4.14; “dedaidalmenoi pseudesi poikilois muthoi” Id.O.1.29; of style, “lexis poiētikōtera kai p.” Isoc.15.47 (Comp.); “skhēmatismoi” D.H.Is.3

Pind. O. 6 I think I have on my tongue a shrill whetstone, which steals over me (and I am willing) with fair-flowing breaths. My mother's mother was the nymph of Stymphalus, blossoming Metopa, [85] who bore horse-driving Thebe, whose delicious water I drink, while I weave my embroidered song for heroic spearmen. Now rouse your companions, Aeneas, first to shout the praises of Hera Parthenia, and then to know whether we have truly escaped the ancient reproach [90] of men's speech, “Boeotian pig.” For you are a faithful herald, a message-stick of the lovely-haired Muses, a sweet mixing-bowl of loud-sounding songs. Tell them to remember Syracuse and Ortygia, which Hieron rules with his pure scepter and with good counsels, [95] while he attends on the worship of Demeter of the red feet, and on the festival of her daughter with her white horses, and on the might of Aetnaean Zeus. The sweet-voiced lyres and music are familiar with Hieron.

Numphē : nymph, goddess of secondary rank, as the Naiads, mountain nymphs, etc., Il. 6.420, Od. 6.123; offerings were made to them, Od. 17.211, Od. 12.318; Calypso and Circe are termed nymphs, Od. 5.153, Od. 10.543.

Numphē , voc. numpha (cf. nubo): bride, lady; after as well as at the time of marriage, Il. 9.560, Od. 11.447, Il. 3.130, Od. 4.743.

Mixing bowl Krater 2. metaph., k. aoidan, of the messenger who bears an ode, Pi.O.6.91; k. kakōn, of a sycophant, Ar.Ach.937 (lyr.); “tosonde kratēr' en domois kakōn plēsas . . ekpinei” A.Ag.1397; haimatos kratēra politikou stēsai, of civil war,

Mousa A. “Olumpiades M., Dios aigiokhoio thugateres” Il.2.491, cf. Hes.Th.25, etc.; nine in number, first in Od.24.60; named in Hes.Th.75 sqq. 

Horace Odes 2.
Ay, Venus smiles; the pure nymphs smile,
And Cupid, tyrant-lord of hearts,
Sharpening on bloody stone the while
His fiery darts.

New captives fill the nets you weave;
New slaves are bred; and those before,
Though oft they threaten, never leave
Your godless door.
Nympha a bride, mistress, goddess, the Muses

I let my business wait upon their sport.
So they began to sing, voice answering voice
in strains alternate--for alternate strains
the Muses then were minded to recall--
first Corydon, then Thyrsis in reply.

Libethrian Nymphs, who are my heart's delight,
grant me, as doth my Codrus, so to sing--
next to Apollo he--or if to this
we may not all attain, my tuneful pipe
here on this sacred pine shall silent hang.”

Numpho-lκptos , on,   A.caught by nymphs : hence, raptured, frenzied,
Nymphs: They tended to frequent areas distant from humans, but could be encountered by lone travellers outside the village, where their music might be heard, and the traveller could spy on their dancing or bathing in a stream or pool, either during the noon heat or in the middle of the night. They might appear in a whirlwind. Such encounters could be dangerous, bringing dumbness, besotted infatuation, madness or stroke to the unfortunate human. When parents believed their child to be nereid-struck they would pray to Saint Artemidos, the Christian manifestation of Artemis.[3][4]

II. Nymph or goddess of lower rank, “theai Numphai” Il.24.616, cf. Hes.Th.130, Fr.171.5, al., IG12(8).358 (Thasos, V B.C.) ; N. “kourai Dios aigiokhoio” Od.6.105 ; N. “haliai” S.Ph.1470 (anap. ; cf. Naias, Nērēis) ; N. Orestiades,


In Jude and The Book of Enoch these are the WANDERING STARS or FALLEN ANGELS who were led into rebellion against the worship of God. The Lucifer Principle as the "singing and harp playing prostitute" in history shows that Tyre used seductive musicians to STEAL property and STEAL souls.

Lucifer was in the Garden of Eden and WHOLLY SEDUCED Eve in a sexual sense: The serpent (ZOE) was called the BEAST and FEMALE INSTRUCTING PRINCIPLE. SHE facilitates Musical Worship teams to worship the MOTHER OF THE GODS.


Daimonion (g1140) dahee-mon'-ee-on; neut. of a der. of 1142; a doemonic being; by extens. a deity: - devil, god.

Daimon (g1142) dah'ee-mown; from daio, (to distribute fortunes); a doemon or supernatural spirit (of a bad nature): - devil

Rev 18:1 And after these things I saw another angel come down from heaven, having great power; and the earth was lightened with his glory. 2 And he cried mightily with a strong voice, saying, Babylon the great is fallen, is fallen, and is become the habitation of devils, and the hold of every foul spirit, and a cage of every unclean and hateful bird. [seed pickers]

1Tim. 4:2 Speaking lies in hypocrisy; having their conscience seared with a hot iron;

The Sophia-Matriarchalism is always opposed to Jehovah-Logos

Pseudologic  sophia

Aristoph. Frogs 1500

I'll do it. But you hand over
my throne to Sophocles to guard
and preserve, if I ever
come here again. For him I
judge to be second in talent.
And remember that that villainous fellow,
that liar, that clown
will never sit on my throne
not even by accident.

Shine now for him
your sacred torches, and escort
him, extolling him with his songs
and dances.

Sophia A. cleverness or skill in handicraft and art f Hephaestus and Athena, Pl.Prt.32 1d; of Daedalus and Palamedes, X.Mem.4.2.33, cf. 1.4.2; in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry,

§ i. Summary of the Argument.

II. Aristodemus's Prologue: 174 A-178 A.

Aristodemus meeting Socrates smartly attired expresses his surprise at so unusual a circumstance. Socrates explains that being invited to dine with Agathon he feels bound to go “in finery to the fine”; and he presses Aristodemus, although uninvited, to accompany him. On the road Socrates, immersed in thought, lags behind, and Aristodemus arrives at Agathon's alone. Not till they are half-way through the meal does Socrates appear; and Agathon rallies him on his devotion to sophia. The proposal of Pausanias to restrict the potations, in view of yesterday's banquet, and that of Eryximachus to dismiss the flute-girl and amuse themselves by logoi, are unanimously agreed to. Then Eryximachus propounds an idea of Phaedrus, that Eros is the best possible theme for encomia, and suggests that each of the party in turn, commencing with Phaedrus, should now deliver an encomium on Eros. This suggestion is applauded by Socrates. Of the encomia the most noteworthy were the following:—
logos , o(, verbal noun of legō (B), with senses corresponding to legō (B) II and III (on the various senses of the word v. Theo Sm.pp.72,73 H., An.Ox.4.327): common in all periods in Prose and Verse, exc. Epic, in which it is found in signf. derived from legō (B) 111, cf.infr. VI. 1
Opposit personal opinion, opposite poetry, opposite music.

(2) At Athens the nomos is complex. (a) Eros is approved, and its excesses condoned, when directed towards superior youths approaching manhood. (b) It appears to be condemned, in so far as parents forbid their boys to hold converse with “erastae.” The explanation of this ambiguous attitude must be sought in the principle laid down above, that the moral quality of an act depends upon the conditions of its performance. The Athenian nomos provides a test for distinguishing between good and bad forms of Eros: the test of time shows whether or not the right motive (desire for aretē) actuates both the lover and his object. This motive alone justifies all erotic pursuits and surrenders, even mutual deception: hence we conclude that kalon aretēs heneka kharizesthai.

Nomos is a traditional practice 
II. a musical mode or strain, Aesch., Plat., etc.; nomoi kitharōdikoi Ar.
2. a song sung in honour of some god, Hdt.; nomoi polemikoi war- tunes, Thuc. 

Epilogue: This Eros Uranios, which inspires zeal for aretē, possesses the highest value alike for the individual and for the State.

paidisk-ē , h(, Dim. of pais ),
A. young girl, maiden, X.An.4.3.11, Anaxil.22.26, Men.102, etc.; p. nea, of a wife, Plu.Cic.41.
II. young female slave, bondmaid, Lys.1.12, 13.67, PCair.Zen.142 (iii B. C.), Ep.Gal.4.22: generally, maidservant, Ev. Marc.14.66; “tous paidas kai tas p.” Ev.Luc.12.45.
2. prostitute, Hdt.1.93, Is.6.19, Plu.Per.24, Cat. Ma.24, etc.; “hai dēmosiai p.” Ath.10.437e. 

Hupokrinτ reply, make answer
2. expound, interpret, explain [outlawed by Peter as private interpretation] II. Att., speak in dialogue, hence play a part on the stage, be an actor, kτmτidian, of orators and rhetoricians, represent dramatically, use histrionic arts, exaggerate, deliver a speech, declaim, of orators and rhetoricians, represent dramatically

rhκtor-ikos , κ, on, oratorical, hκ rhκtorikκ (sc. technκ). These are the craftsmen lumped with the singers, musicians and "grinder" doing merchandise in the house of prayer. Rev. 18:22

I. interpreter or expounder, “tēs di' ainigmōn phēmēs” Pl.Ti. 72b; “oneirōn” Luc.Somn.17, etc.
II. in Att., one who plays a part on the stage, actor, Ar.V.1279, Pl.R.373b, Chrm. 162d, Smp.194b, X. Mem.2.2.9, etc.
2. of an orator, poikilos hu. kai perittos (of Dem.) Phld.Rh.1.197 S.; one who delivers, recites, declaimer, “epōn” Tim.Lex. s.v. rhapsōdoi; rhapsodist, D.S.14.109, 15.7; this sense or sense 11.1 is possible in PCair.Zen.4.44 (iii B. C.).
3. metaph., pretender, dissembler, hypocrite, LXX Jb.34.30, 36.13, Ev.Matt.23.13, al.
Poikilos i^, ē, on,
2. of Art, p. humnos a song of changeful strain or full of diverse art, Pi.O.6.87; “poikilon kitharizōn” Id.N.4.14; “dedaidalmenoi pseudesi poikilois muthoi” Id.O.1.29; of style, “lexis poiētikōtera kai p.” Isoc.15.47 (Comp.); “skhēmatismoi” D.H.Is.3
1Tim. 4:3 Forbidding to marry, and commanding to abstain from meats,
        which God hath created to be received with thanksgiving
        of them which believe and know the truth.

In Romans 14 Paul outlawed "doubtful disputations"about these private opinions.  In Romans15 this eleminated self pleasue whichincluded all of the hypocritic or performance roles which would allow what he called "synagogue" which was devoted only to teaching the Word.

1Tim. 4:4 For every creature of God is good, and nothing to be refused,
        if it be received with thanksgiving:
1Tim. 4:5 For it is sanctified by the word of God and prayer.


1Tim. 4:6 If thou put the brethren in remembrance of these things,
        thou shalt be a good minister of Jesus Christ,
        nourished up in the words of faith and of good doctrine,
        whereunto thou hast attained.

Minister A. mĭnister , tri, m., an attendant, waiter, servant; also a priest's attendant or assistant; likewise an inferior officer, underofficial; hence, transf., an aider in a good or bad sense, a furtherer, promoter, helper, an abettor, accomplice:

“Phrygius,” the cup-bearer Ganymede, Val. Fl. 5, 691; Mart. 12, 15, 7: “Falerni,” a cup -bearer, Cat. 27, 1: “ministri publici Martis,” Cic. Clu. 15, 43: “hostia Inter cunctantes cecidit moribunda ministros,” Verg. G. 3, 488:

B. mĭnistra , ae, f., a female attendant, maid-servant; a female assistant or minister, at religious worship (class. only in the trop. signif.). Among Christians: Ancillae I. a maidservant, handmaid, female slave (com. used as fem. of servus, instead of serva).
Ov. Met. 9.1 And so my horne the Tresory of plenteousnesse became.
As soone as Acheloy had told this tale a wayting Mayd
With flaring heare that lay on both hir shoulders and arrayd
Like one of Dame Dianas Nymphes with solemne grace forth came
And brought that rich and precious home, and heaped in the same
2. Trop., a servant, handmaid; in a bad sense, an aider, accessory, abettor: “ministra et famula corporis res familiaris,” Cic. Tusc. 1, 31, 75: “voluptatum satellites et ministrae,” id. Fin. 2, 12, 37: “Camilla delegit pacisque bonas bellique ministras,” Verg. A. 11, 658.
1Tim. 4:7 But refuse profane and old wives’ fables, and exercise thyself rather unto godliness.


       A.  2Pet. 1:16  For we have not followed cunningly [sophizo]  devised fables,                   

Fables are myths from MUO [to shut the mouth: music forces the lambs to be silent before the slaughter]
-Muthos   2. fiction (Opposite. logos, historic truth)
Pind. 0. 1 From there glorious song enfolds the wisdom of poets,1 so that they loudly sing [10] the son of Cronus, when they arrive at the rich and blessed hearth of Hieron, who wields the scepter of law in Sicily of many flocks, reaping every excellence at its peak, and is glorified [15] by the choicest music, which we men often play around his hospitable table. Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus placed your mind under the influence of sweetest thoughts,

Yes, there are many marvels, and yet I suppose the speech of mortals beyond the true account can be deceptive, stories adorned with embroidered lies; [30] and Grace, who fashions all gentle things for men, confers esteem and often contrives to make believable the unbelievable. But the days to come are the wisest witnesses.

 embroidered lies Poikilos
2. of Art, p. humnos a song of changeful strain or full of diverse art, Pi.O.6.87; “poikilon kitharizōn” Id.N.4.14; “dedaidalmenoi pseudesi poikilois muthoi” Id.O.1.29; of style, “lexis poiētikōtera kai p.” Isoc.15.47 (Comp.); “skhēmatismoi” D.H.Is.3.

Fables are myths from MUO [to shut the mouth: music forces the lambs to be silent before the slaughter]
4. professed work of fiction, children's story, fable, Pl.R.377a; of Aesop's fables, Arist. Mete.356b11.
5. plot of a comedy or tragedy, Id.Po.1449b5, 1450a4, 1451a16.
-Sophis-tκs ,A. master of one's craft, adept, expert, of diviners, Hdt.2.49; of poets, “meletan sophistais prosbalon” Pi.I.5(4).28, cf. Cratin.2; of musicians, “sophistēs . . parapaiōn khelun” A.Fr.314, cf. Eup.447, Pl.Com. 140; sophistē Thrēki (sc. Thamyris) E.Rh.924, cf. Ath.14.632c: with modal words added, “hoi s. tōn hierōn melōn”

II. from late v B.C., a Sophist, i.e. one who gave lessons in grammar, rhetoric, politics, mathematics, for money,

-goēs     A. sorcerer, wizard, Phoronis 2, Hdt.2.33,4.105, Pl.R. 380d, Phld.Ir.p.29 W.; “g. epōdos Ludias apo khthonos” E.Ba.234, cf. Hipp.1038; prob. f.l. for boēsi Hdt.7.191.
2. juggler, cheat, “deinos g. kai pharmakeus kai sophistēs” Pl.Smp.203d; “magos kai g.” Aeschin.3.137:

[265c] plausible discourse, we chanted a sportive and mythic hymn in meet and pious strain to the honor of your lord and mine, Phaedrus, Love, the guardian of beautiful boys.

Yes, and I found it very pleasant to hear.

2. abs., sport, jest, “p. en logois” Pl.Phdr.262d, cf. Lg. 653e, 804b; opp. spoudazein, Id.Euthd.283b.
3. laugh at, make fun or sport of, tini Men.Epit.182, Plu.2.197d, Caes.63; satirize, tini D.L.4.61, 7.164:—Med., App. l.c.
II. c. acc., theous p. sing to the gods, sing in their praise or honour, Pl.Epin.980b: c. dupl. acc., humnon prosepaisamen . . ton . . Erōta sang a hymn in praise of Eros, Id.Phdr.265c.
2. banter , “tous rhētoras” Id.Mx.235c, cf. Euthd.285a; p. ton kuna, ton arkton, tantalize, Luc.Dom.24, Ael.NA4.45. 
Humnos , ho, hymn, ode, in praise of gods or heroes  Perseus 
       B.   2Timothy 4:4 And they shall turn away their ears from the truth,
        and shall be turned unto fables.
FABLES TO FOOL: Fābŭla , ae, f. fari,
B.  Of particular kinds of poetry.
1.  Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,” id. 14, 6, 20: “fabula ad actum scenarum composita,”fabulam, quae versatur in tragoediis atque carminibus non a veritate modo
FABLES TO FOOL:  Cantus , ūs, m. id., I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing,
1. With the voice, a singing, song; in full, cantus vocum, Cic. Rosc. Am. 46, 134: “fit etiam saepe vocum gravitate et cantibus ut pellantur animi, etc.,
2. With instruments, a playing, music: “citharae,” “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,  “lyrae,” Plin. 34, 8, 19, § 72: “tibicine

FABLES TO FOOL:   Scaenĭcus (scen- ), a, um, adj., = skēnikos,
I. of or belonging to the stage, scenic, dramatic, theatrical (class.).
stage-plays, theatrical representations, “fabula,” a drama, Amm. 28, 1, 4: “organa,” Suet. Ner. 44: “coronae,” id. ib. 53: “habitus,” id. ib. 38: “gestus,” Cic. de Or. 3, 59, 220: “modulatio,” Quint. 11, 3, 57:
1. scaē-nĭcus , i, m., a player, actor, Cic. Off. 1, 31, 114: “orator plurimum aberit a scaenico 2. scaenĭca , ae, f., a female player, an actress,
Orgănum , i, n., = organon,Of musical instruments, a pipe, Quint. 11, 3, 20; 9, 4, 10; Juv. 6, 3, 80; Vulg. Gen. 4, 21; id. 2 Par. 34, 12 et saep. an organ, water-organ: “organa hydraulica,” Suet. Ner. 41: aquatica, Mythogr. Lat. 3, 12.—Of a church-organ, Cass. Expos. in Psa. 150; Aug. Enarr. in Psa. 150, n. 7.—  B. Transf.: organum oris, the tongue of a man, Prud. steph
2Timothy 4:5 But watch [nēphō to be sober, drink no wine] thou in all things, endure afflictions,
        do the work of an evangelist, make full proof of thy ministry.


Graus , gen. gra_os, hκ: Ion. grκus , grκos, voc. grκu: poet. also grκόs , voc. grκό: barbarous voc. grao in Ar.Th.1222: nom. pl. graes Ar.Fr.350 , Timocl.25: acc. graus E.Andr.612 , etc.:--old woman, Hom., esp. in Od., 1.191, al., A.Eu.38, etc.; g. palaiκ Od. 19.346 : prov., graτn huthlos old wives' fables, Pl.Tht.176b: with Subst., g. gunκ E.Tr.490 , Ar. Th.345, D.19.283: Com., ho graus of an old man, Ar.Th.1214 cod. R.
1Tim. 4:7 But refuse profane and old wives’ fables, and exercise thyself rather unto godliness.

dē-vīto , āvi, ātum, 1,
I. v. a., to avoid, go out of the way of, shun (rare but class.): “illos fluctus,” Plaut. Rud. 1, 2, 79; cf.: “procellam temporis,” Cic. Verr. 1, 3, 8: “malum,” Ter. And. 3, 5, 5: “letum,” Lucr. 3, 1092: “dolorem,” Cic. Tusc. 2, 26: “exiguum censum turpemque repulsam,” Hor. Ep. 1, 1, 44: “suspicionem,” Suet. Tib. 11: δυσφημίανid. Aug. 92: “stultitiam,” Vulg. Eccl. 2, 3. nominis,

I.  of or pertaining to an old woman.
I.  Lit.: “voltus,” Verg. A. 7, 416: “passus,” Ov. M. 13, 533: “aetas,” Col. 2, 1, 2

II.  Often in a contemptuous sense, like an old woman, old womanish, anile: “ineptiae paene aniles,” Cic. Tusc. 1, 39, 93: “superstitio imbecilli animi atque anilis,” id. Div. 2, 60; so id. N. D. 2, 28; 3, 5; * Hor. S. 2, 6, 77; Quint. 1, 8, 19Comp. and sup. not used.—* Adv.: ănīlĭter , like an old woman: “dicere aliquid,” Cic. N. D. 3, 39.

Fabula self-composed sermons, fiction,
*II. In partic. (freq. and class.), a fictitious narrative, a tale, story (syn.: apologus, narratio): narrationum tris accepimus species, fabulam, quae versatur in tragoediis atque carminibus non a veritate modo, sed etiam a forma veritatis remota, argumentum ... historiam, So of idle tales: “ineptas et aniles fabulas devita,” Vulg. 1 Tim. 4, 7 al.—
B. Of particular kinds of poetry.
1. Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,” id. 14, 6, 20: “fabula ad actum scenarum composita,” Quint. 5, 10, 9;

Ludus a). In gen.: “hoc praetore ludos Apollini faciente, (Apollo, Abaddon)
I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing, music (while carmen is prop. the contents or substance of the son
2. With instruments, a playing, music: “in nervorum vocumque cantibus,
A. Prophetic or oracular song: “veridicos Parcae coeperunt edere cantus,” Cat. 64, 306; cf. Tib. 1, 8, 4
B. An incantation, charm, magic song, etc.: cantusque artesque magorum.
1Tim. 4:8 For bodily exercise profiteth little:
        but godliness is profitable unto all things, having promise of the life that now is,
        and of that which is to come. 
1Tim. 4:9 This is a faithful saying and worthy of all acceptation. 
1Tim. 4:10 For therefore we both labour and suffer reproach,
        because we trust in the living God, who is the Saviour of all men,
        specially of those that believe. 
1Tim. 4:11 These things command and teach. 
1Tim. 4:12 Let no man despise thy youth;
        but be thou an example of the believers, in word,
        in conversation, in charity, in spirit, in faith, in purity. 
1Tim. 4:13 Till I come, give attendance to reading, to exhortation, to doctrine. 
1Tim. 4:14 Neglect not the gift that is in thee,
        which was given thee by prophecy,
        with the laying on of the hands of the presbytery. 
1Tim. 4:15 Meditate upon these things;
        give thyself wholly to them; that thy profiting may appear to all. 
1Tim. 4:16 Take heed unto thyself, and unto the doctrine;
        continue in them: for in doing this
        thou shalt both save thyself, and them that hear thee.

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