Matthew 11

Which worship songs are based on Matthew 11?

Cousin John — John Mark McMillan (2020) Matthew 11:2-3
John’s confinement and uncertainty about whether to expect someone else closely paraphrase the imprisoned Baptist sending disciples to question whether Jesus was the promised one.
Mary Did You Know — Jason Crabb (2010) Matthew 11:4-5
The catalogue of restored sight, hearing, mobility, and resurrected life closely echoes Jesus' report of his works to John the Baptist's messengers. The inclusion of the dead being raised makes this a connection beyond the overlapping imagery in Isaiah 35.
Raise Your Hands — Saint (2010) Matthew 11:4-5
The catalogue of restored sight, mobility, and communication closely resembles Jesus’ summary of his miracles as evidence of his identity. The song alters the deaf-hearing pairing to speech, so this is an adapted catalogue rather than an exact quotation.
Beyond Incredible — Skillet (2022) Matthew 11:4-5
The chorus associates a miraculous higher realm with blind people gaining sight, echoing Jesus’ appeal to restored sight as evidence of his messianic works.
Miracles — Kari Jobe (2017) Matthew 11:4-5
The opening identifies Jesus through the paired restoration of sight and hearing, closely following his summary of the messianic works being performed through him.
A Street Of Glory — Greater Vision (2022) Matthew 11:4-5
The clustered images of restored sight, cleansed leprosy, and release from physical helplessness evoke Jesus’ summary of His healing works as evidence of His messianic ministry. The discarded aids portray the aftermath of the kinds of miracles named in this passage.
Carry You (1997 Version) — Amy Grant (2022) Matthew 11:5
The paired claims that Jesus restores sight and raises the dead closely reproduce two of the messianic signs he cites in his response to John the Baptist's disciples.
I Still Belong to Jesus — Robert Randolph & The Family Band (2010) Matthew 11:5
The song closely adapts Jesus’ description of restored sight and mobility as signs of his ministry. The surrounding emphasis on the poor also fits this verse, where Jesus includes good news reaching the poor.
Mary Did You Know - Acapella — Cimorelli (2014) Matthew 11:5
The bridge also echoes Jesus’ report of the signs accompanying his ministry, particularly the combination of restored sight, restored hearing, and the raising of the dead.
One Word — Newsboys (2013) Matthew 11:5
The paired restoration of sight to blind people and walking to lame people closely follows Jesus' account of the miracles confirming his ministry.
Lazarus — Trip Lee & Thi'sl (2014) Matthew 11:5
The final verse groups restored sight, restored mobility, and resurrection as demonstrations of Christ's power. This closely adapts the cluster of miracles Jesus lists as evidence of his ministry in Matthew 11:5, also preserved in Luke 7:22.
Mary Did You Know — India.Arie & Gene Moore Jr. (2014) Matthew 11:5
The central catalogue also closely adapts Jesus' report that blind people receive sight, deaf people hear, and the dead are raised. The inclusion of restored life specifically connects this passage to Jesus' answer to John the Baptist, beyond the parallel imagery in Isaiah.
The Lost Are Found - Live — Hillsong Worship, Ben Fielding (2011) Matthew 11:5
The bridge closely adapts Jesus’ description of his messianic works: restored sight, restored mobility, and resurrection. This distinctive sequence reflects his answer to John the Baptist’s messengers, also recorded in Luke 7:22.
Mary Did You Know? — Scotty McCreery (2012) Matthew 11:5
The bridge also closely parallels Jesus' catalogue of messianic works, combining restored sight and hearing with the raising of the dead. Its resurrection language goes beyond the restoration imagery in Isaiah 35.
Mary, Did You Know? — Rascal Flatts (2010) Matthew 11:5
The healing catalogue also closely echoes Jesus' report to John's messengers, particularly its combination of restored sight and hearing with the raising of the dead. Resurrection distinguishes this connection from the accompanying allusion to Isaiah 35.
Mary, Did You Know? — Zara Larsson (2024) Matthew 11:5
The catalog of sight, hearing, restored life, mobility, and speech closely paraphrases Jesus’ description of his messianic works while drawing on Isaiah’s prophecy of restoration.
Write Your Story — Francesca Battistelli (2014) Matthew 11:5
The opening pairs restored sight with the raising of the dead, closely adapting two signs Jesus cites as evidence of his ministry in his response to John the Baptist.
Mary Did You Know? (feat. Chandler Moore, Lizzie Morgan & Mav City Gospel Choir) — Maverick City Music & Chandler Moore & Lizzie Morgan & Mav City Gospel Choir (2021) Matthew 11:5
Lists together restoration of sight, hearing, mobility and speech along with raising the dead as linked messianic signs, echoing the summary Jesus gives to messengers from John the Baptist that itself fulfills prophetic expectations.
Mary Did You Know — Angelo Kelly & Family (2021) Matthew 11:5
Bridge catalogues the messianic signs of blind receiving sight, deaf hearing, lame leaping, mute speaking and dead being raised, closely paraphrasing the list Jesus cites to the messengers of John the Baptist as fulfillment of Isaiah's prophecy.
I Will Go — Big Daddy Weave (2015) Matthew 11:5
The bridge closely adapts Jesus’ catalogue of messianic signs, specifically restored sight, restored mobility, and the raising of the dead.
God's Got an Army — Carman (2017) Matthew 11:12
The song directly invokes Jesus’ difficult saying about the kingdom of heaven experiencing violence and forceful people seizing it, with a minor substitution of divine-kingdom terminology.
Triumph (Already Done) — Hezekiah Walker (2008) Matthew 11:12
The chorus adopts the distinctive language of forcibly seizing the kingdom. It applies that imagery to spiritual victory, although the meaning of the biblical passage is debated.
Here in This Place — Elevation Worship (2008) Matthew 11:19
The song applies to Jesus the distinctive description used by his critics concerning his association with sinners. It turns that accusation into an affirmation of his welcome.
Friend of Sinners — Laura Story (2011) Matthew 11:19
The song adopts the description originally used to criticize Jesus for associating with morally disreputable people, turning that accusation into praise for his compassion.
Winter Song — Sam Fender (2020) Matthew 11:19
The description of Jesus associating with socially disapproved people closely reflects the Gospel accusation that he was a friend of tax collectors and sinners.
Jesus, Friend of Sinners — Casting Crowns (2011) Matthew 11:19
The title and repeated address adopt the accusation made against Jesus for associating with tax collectors and sinners, turning that criticism into praise for His mercy.
I Just Pray — Bryson Gray (2021) Matthew 11:20-24
The reference to Jesus' severe words against cities that remained unrepentant points to his denunciation of Chorazin, Bethsaida, and Capernaum.
Be Still — Mark Schultz (2012) Matthew 11:28
The bridge adapts Jesus' invitation to all who are burdened to come to him for relief. Its direct summons to the distressed, coupled with the invitation to relinquish burdens, makes this more specific than a general theme of rest.
I Like The Promise — 11th Hour (2012) Matthew 11:28
The opening closely adapts Jesus’ invitation to the heavily burdened and his promise to give them rest.
Peace Be Still — Rush of Fools (2009) Matthew 11:28
The opening adapts Jesus’ invitation for weary people to approach him and receive rest. The combination of direct invitation, human weakness, and offered rest makes this more than a general theme of consolation.
Rainbow — Josh Garrels (2009) Matthew 11:28
The direct invitation to weary people, immediately followed by an offer of rest, closely adapts Jesus' invitation. The connection rests on that verbal sequence rather than on a general theme of comfort.
He Has Won — Vertical Worship (2013) Matthew 11:28
The opening invitation closely adapts Jesus’ address to weary and heavily burdened people. Its distinctive description of the listeners makes this a specific textual allusion rather than merely a shared theme of comfort.
Come to Me — Bethel Music & Jenn Johnson (2012) Matthew 11:28-29
The divine invitation to approach is paired with explicit references to weariness and entering rest. Together, these details closely adapt Jesus' invitation to the weary rather than merely sharing a general theme of comfort.
Rest — Kelly Willard (2012) Matthew 11:28
The divine invitation to approach and receive rest closely condenses Jesus’ invitation to the weary and burdened. The narrator’s exhaustion reinforces this specific verbal connection.
Come To Me — Aaron Shust (2007) Matthew 11:28-30
The song reproduces nearly verbatim Jesus’ invitation to the weary and burdened, his instruction to learn from his gentle and humble character, and his assurance that his authority brings rest rather than crushing demands. Its successive sections follow all three verses of this passage.
Grape, Grape Joy — Amy Grant (2007) Matthew 11:28
The closing encouragement borrows the distinctive King James wording for the burdened people Jesus invites to himself. This is a specific verbal allusion, although the song substitutes encouragement to persevere for the verse’s invitation and promise of rest.
What a Friend We Have in Jesus — Aaron Neville (2013) Matthew 11:28
The hymn directly adapts Jesus's description of people weighed down by burdens and directs them to the Savior for relief. The distinctive wording makes this more than a general theme of comfort.
Always Good — Bethel Music (2020) Matthew 11:28-30
The exchange of emotional heaviness for a light burden closely invokes Jesus’ invitation to the weary, where rest is joined to his easy yoke and light burden.
Come to Me (spontaneous) — Bethel Music (2018) Matthew 11:28-29
The combined invitation to approach God, the reference to weariness, and the promise of entering divine rest specifically echo Jesus' invitation to the burdened.
The Heart of Life — Cosmic Cathedral (2025) Matthew 11:28
The song reflects the idea of Jesus bringing light and hope to those burdened by despair, paralleling the invitation to find rest in Him.
Meet Your Maker (live) — John Mark Pantana (2020) Matthew 11:28-30
The opening invitation combines release from burdens with Christ’s offer of rest and gentle care, closely paraphrasing Jesus’ invitation to burdened and weary people.
Satisfy (You Prepare For Us A Table) — The Porter's Gate (2025) Matthew 11:28-30
The description of Christ's easy yoke and light burden directly paraphrases Jesus' invitation to the weary.
Unfailing Father — Selah (2017) Matthew 11:28-29
The chorus combines Christ’s invitation to come with the surrender of burdens and the promise of rest, closely following the distinctive movement of this passage.
I Found Rest — We Are Messengers & Ben Fuller (2024) Matthew 11:28-30
The song uses distinctive wording from The Message's rendering of Jesus' invitation to learn from him and receive rest, connecting discipleship under grace with relief for the weary.
Privately — Between Thieves (2025) Matthew 11:28
The plea for refuge and understanding in the song parallels Jesus' invitation to the weary and burdened in Matthew 11:28, where He offers rest to those who are struggling.
Cast Your Burden — Gateway Worship (2018) Matthew 11:28-30
The invitation addressed to weary and heavily burdened people closely follows Jesus’ summons to come to him for rest.
I Cannot Tell — Emu Music (2019) Matthew 11:28-30
The description of Christ relieving those who are heavily burdened closely echoes his invitation to the weary and burdened to receive rest from him.
KEEP IT SIMPLE — Forrest Frank (2025) Matthew 11:28
The song expresses the theme of being set free from burdens, which resonates with the invitation in Matthew 11:28 to come to Jesus for rest and relief from heavy loads.
Easy Burden — John Mark McMillan (2025) Matthew 11:28
The song directly references the promise of rest found in Matthew 11:28, inviting those who are weary to come to Christ for relief.
Don't Grow Weary — Sam Purpose (2025) Matthew 11:28-30
The description of Christ's easy yoke amid weariness and heavy burdens directly invokes Jesus' invitation to the burdened to come to him for rest.
Tethered - Live — 7 Hills Worship (2025) Matthew 11:28
The lyrics express a desire for rest and healing, which aligns with the invitation in Matthew 11:28 to come to Jesus for rest. The phrase about finding rest for the soul echoes this biblical theme of seeking solace in Christ.
Do Better — Kijan Boone (2025) Matthew 11:28
The song directly references the concept of going to Jesus as the only way, echoing the invitation found in Matthew 11:28 to come to Him for rest and support.
Hold You — Carrollton (2020) Matthew 11:28-30
The bridge closely restates Jesus’ invitation to the weary to come to him for rest, while the chorus invokes his description of an easy yoke and light burden.
Come to Me — Cheri Keaggy (2012) Matthew 11:28
The invitation to approach Christ in weariness and under burdens, followed by his promise of rest, closely reproduces the wording and structure of Jesus' invitation in this verse.
Come Unto Me — Greater Vision (2013) Matthew 11:28
The chorus closely adapts Jesus’ invitation to the weary and burdened, retaining both his summons and his promise to provide rest.
Victoria — Nathan Wagner (2019) Matthew 11:28
The third verse closely echoes Jesus’ invitation for burdened and weary people to come to him and receive rest, applying that promise to Victoria’s exhaustion and captivity.
Anxious Heart — Jeremy Camp (2021) Matthew 11:28-30
The description of a burden becoming light through God's help specifically echoes Jesus' invitation to the weary and his declaration that his burden is light.
Yes — John Waller (2011) Matthew 11:28
The invitation directed to weary people, immediately followed by the assurance of rest, closely adapts Jesus’ specific invitation in this verse.
Dig New Streams — Switchfoot (2019) Matthew 11:28-30
The bridge unmistakably adapts Jesus’ invitation to the weary and burdened, including his promise of rest and description of his burden as light.
Shimmy — Jackie Hill Perry & Aha Gazelle (2025) Matthew 11:28
The song reflects the idea of finding strength and hope in God amidst struggles, paralleling the invitation to find rest in Christ from burdens.
loved! — The Choir Room & nobigdyl. (2025) Matthew 11:28
The song expresses a need for rest and peace, paralleling the invitation found in Matthew 11:28, where Jesus offers rest to the weary and burdened.
Wilderness — Jeremy Camp (2019) Matthew 11:28-30
The pairing of rest with a burden becoming light strongly echoes Jesus’ invitation to the weary and his description of his burden as light.
Weary Traveler — Jordan St. Cyr (2021) Matthew 11:28-30
The song joins Jesus’ call with the promise that weary people will finally relinquish their heavy burdens, closely echoing his invitation to the burdened and his offer of rest.
Everyone Needs a Little — Kari Jobe (2009) Matthew 11:28
The opening invitation specifically addresses all who are weary, then directs them toward the Lord and surrendering their burdens. Together with the repeated offer of rest, this closely adapts Jesus' invitation to the weary and burdened.
There for You — Lecrae (2025) Matthew 11:28
The song's themes of calling on God for support during struggles resonate with the invitation in Matthew 11:28 to come to Jesus for rest and relief from burdens.
Feet of Jesus — Steven Curtis Chapman (2013) Matthew 11:28-29
The song closely adapts Jesus’s invitation for the burdened to approach him and receive rest. Its emphasis on the soul finding rest further reflects this passage rather than merely expressing a general desire for peace.
grace — Grace Runkle (2025) Matthew 11:28-30
The repeated invitation to receive rest and relinquish a self-imposed yoke closely paraphrases Jesus’ invitation to the weary and burdened to take his easy yoke and find rest.
REEL LIFE — Torey D'Shaun (2024) Matthew 11:28-30
The contrast between a heavy burden and its becoming light closely invokes Jesus’ invitation to receive his easy yoke and light burden.
CHEAT CODE — Futuristic & Evan and Eris (2025) Matthew 11:28
The plea for upliftment and support in times of confusion resonates with the invitation in Matthew 11:28 to come to Jesus for rest and relief from burdens.
I Lay It Down — Tasha Layton (2023) Matthew 11:28-30
The chorus directly invokes Jesus’ invitation to the weary and his description of his yoke as easy and his burden as light.
Fields of Gold — Haddon (2025) Matthew 11:28
The song expresses a longing for rest and comfort in the presence of Jesus, echoing the invitation found in Matthew 11:28 to find rest in Him.
The Table — Chris Tomlin (2014) Matthew 11:28-30
The chorus closely adapts Jesus’ invitation to the weary and his description of an easy yoke and light burden. These distinctive details directly identify the passage rather than merely sharing its theme of rest.
Come Into The Light/Touch The Sky (Live) — TAYA (2024) Matthew 11:28-29
The Savior’s self-description and invitation to burdened people closely reproduce Jesus’ words about his humble character and the rest found by coming to him.
Come Alive - Live — Red Rocks Worship (2019) Matthew 11:28-30
The invitation addressed to weary, burdened people and the promise of rest closely paraphrase Jesus’ call to those carrying heavy loads.
Love After Hurt — Trevor Jackson & ONE HOUSE & Annatoria (2024) Matthew 11:28
The bridge uses the passage's distinctive paired description of those who are exhausted and carrying heavy burdens, invoking Jesus' invitation to find rest in him.
Getaway — TAYA (2022) Matthew 11:28-30
The questions about religious exhaustion and heavy burdens, followed by an invitation to rest and walk with Jesus, closely reproduce the distinctive language and movement of this passage, especially as rendered in The Message.
I'm With You — Kutless (2012) Matthew 11:28
The ending combines an acknowledgment of weariness with a divine invitation for everyone needing rest to approach the speaker. This closely adapts Jesus' invitation to the weary and burdened, rather than merely sharing a general theme of comfort.
Rush — Red Tips (2026) Matthew 11:28
The song references resting in God's yoke, which directly connects to Jesus' invitation to find rest in Him.
I FEEL GOOD — Mike Teezy (2024) Matthew 11:28-30
The description of Christ removing burdens and providing a light burden and easy yoke closely paraphrases Jesus’ invitation to the weary.
Ready or Not — Hillsong UNITED (2019) Matthew 11:28-30
The repeated invitation for tired and burdened people to approach Jesus and release what they carry closely paraphrases Christ's invitation to the weary and burdened.
Punishment — Impending Doom (2025) Matthew 11:28
The phrase 'I will never feel its punishment' echoes the sentiment of finding relief from burdens, akin to the invitation found in Matthew 11:28 to come to Christ for rest.
Honest Conversation — Katy Nichole (2025) Matthew 11:28
The song reflects the biblical invitation to come to God as we are, expressing a longing for authenticity in the relationship with Him.
Survivor — Da’ T.R.U.T.H. (2011) Matthew 11:28
Despite the damaged transcription, the opening of the first verse appears to adapt Jesus' description of people exhausted and burdened. The paired terms make this more specific than a general expression of weariness.
Best Thing Ever — Disciple (2019) Matthew 11:28
The pre-chorus closely paraphrases Jesus’ invitation for weary and burdened people to come to him. Its repeated call to approach Christ and its focus on the exhausted make this passage the song’s clearest scriptural source.
I Found Jesus — Katy Nichole (2025) Matthew 11:28
The imagery of finding strength and peace through prayer at Jesus' feet evokes the invitation to find rest in Matthew 11:28, where Jesus calls the weary to come to Him.
The Hope of Christmas — Katy Nichole (2025) Matthew 11:28
The invitation to bring a 'broken heart' to the 'Holy One' echoes the call in Matthew 11:28 to come to Jesus for rest and comfort, aligning with the theme of seeking solace in faith during difficult times.
I’ll Be Everything — Bethel Music (2020) Matthew 11:28-30
The chorus closely recasts Jesus’ invitation for weary, burdened people to come to him and receive rest, presenting God as the one who assumes their weight and provides what they need.
He Is — Crowder (2021) Matthew 11:28-30
The opening invitation specifically brings troubled and exhausted people to Jesus for peace and rest, while the chorus presents him as carrying their burdens. This combination closely paraphrases Jesus’ invitation to the weary and burdened.
Just Be Held — Casting Crowns (2014) Matthew 11:28-29
The bridge closely adapts Jesus’ invitation to approach him and receive rest. Its pairing of that invitation with promised rest, addressed to an exhausted listener, specifically recalls this passage.
Come On Home — Seph Schlueter (2025) Matthew 11:28
The bridge closely adapts Jesus’ invitation for weary and burdened people to come to him and find welcome and rest.
Lonely — Aklesso & Lecrae (2025) Matthew 11:28
The artist's longing for rest and relief from emotional turmoil resonates with the invitation in Matthew 11:28 to come to Jesus for rest.
I'll Give You Peace — Sandi Patty (2008) Matthew 11:28-29
The song combines burden-bearing, weariness, and an invitation to find rest in the divine speaker. Together, these elements closely adapt Jesus’ invitation to the weary and burdened, rather than merely sharing a general theme of rest.
I'm Here For You — Jonathan Traylor (2021) Matthew 11:28
The invitation for the weak to approach Christ and receive rest closely parallels Jesus’ invitation to those wearied and burdened.
Come to Me — Jamie Grace (2011) Matthew 11:28
The chorus closely adapts Jesus’ invitation to the weary and burdened, preserving both his call to approach him and his promise of rest. Its added emphasis on hope amid hurt expands the invitation without obscuring the specific biblical source.
Pour Your Spirit Out - Live — Thrive Worship (2022) Matthew 11:28-30
The invitation to rest in Christ's presence is paired with the distinctive description of his burden as easy, directly engaging Jesus' invitation to the weary.
For All My Life — TAYA (2022) Matthew 11:28-30
The repeated description of Christ’s yoke and burden directly cites Jesus’ invitation to weary people to accept his gentle instruction and find rest.
Softly And Tenderly — Wendi Henderson Wyatt, Ron Carter & Ricky Dillard (2026) Matthew 11:28-30
The song closely follows Jesus’ invitation to the weary by promising rest, invoking his yoke, calling listeners to learn from him, and describing rest for their souls. The concentration and sequence of these details unmistakably identify this passage despite transcription errors.
Deliverance — Bridge Worship & Micah Christopher (2023) Matthew 11:28-30
The bridge directly invokes Jesus’ invitation to burdened people and his description of his yoke as easy and his burden as light.
Breathe — Colton Dixon (2017) Matthew 11:28
God's repeated invitation to approach him and receive rest closely paraphrases Jesus' invitation to the weary and burdened.
Jesus Is — Carrollton (2020) Matthew 11:28-29
The bridge closely echoes Jesus’ invitation to burdened people by presenting him as the source of rest for a weary soul.
Reach Out to Jesus — Elvis Presley (2021) Matthew 11:28
The opening combines weariness and a heavy burden with an invitation to turn directly to Jesus for help, closely echoing Jesus’ invitation to burdened and weary people to come to him.
Carry Me — Anne Wilson (2025) Matthew 11:28
The direct appeal to Jesus for support mirrors the invitation found in Matthew 11:28, where Jesus invites the weary to come to Him for rest.
Now — Between Thieves (2025) Matthew 11:28
The lyrics convey a sense of seeking solace and peace in times of distress, resonating with the invitation to come to Jesus for rest found in Matthew 11:28.
Rhythms of Grace - Live — Hillsong UNITED (2012) Matthew 11:29
The title and second verse adapt the distinctive language of The Message's rendering of Jesus' invitation to learn his way of living. The surrounding emphasis on grace shaping the worshipper's steps reinforces that connection.
Royalty — Byron Cage (2007) Matthew 11:29
The repeated personal declaration of finding rest for the soul closely adapts Jesus' promise of soul-rest. This is a verbal connection to verse 29, rather than merely a shared theme of relief from exhaustion.
Sublime - Ao Vivo — fhop music (2025) Matthew 11:29
The song identifies Jesus by the gentleness and humility with which he describes his own heart in this passage.
He Makes Me Well — Allie Paige (2018) Matthew 11:29-30
The opening description of Christ’s yoke and burden directly reproduces the distinctive language of Jesus’ invitation to learn from him and receive rest.
Come Into The Light — TAYA (2024) Matthew 11:29
The chorus applies Jesus’ distinctive self-description in this verse to the Savior whom burdened and ashamed people are invited to approach.
EZ — KB (2023) Matthew 11:29-30
The closing description of Jesus’ yoke and burden directly reworks Jesus’ invitation to take his yoke and find that his burden is light.
Touched By Fire — Travis Greene & Jennifer Hudson (2025) Matthew 11:30
The lyrics reference the idea of a light burden and easy yoke, which directly quotes Jesus' words about the relief that comes from following Him.
Salvation Song — Josh Baldwin (2025) Matthew 11:30
The second verse directly adopts Jesus' description of his yoke and burden, preserving the passage's distinctive paired language.
PARADISE — Forrest Frank (2025) Matthew 11:30
The song expresses a desire to be in a place where burdens are light, which echoes the sentiment found in Matthew 11:30 about Jesus' yoke being easy and His burden light.
In The Valley — Debbie McClendon (2013) Matthew 11:30
The song explicitly attributes to Jesus the teaching that his burden is light, closely reproducing this verse's distinctive promise.
Like Incense / Sometimes By Step — Brooke Ligertwood (2023) Matthew 11:30
The song deliberately combines Jesus' teaching about the narrow way with his assurance that discipleship under his yoke carries a light burden.
Back to Life — Hillsong Young & Free (2013) Matthew 11:30
The chorus closely adapts Jesus’ description of his burden as light, presenting that promise as relief experienced through dependence on him.

Matthew 11 (King James Version)

¹ And it came to pass, when Jesus had made an end of commanding his twelve disciples, he departed thence to teach and to preach in their cities.

² Now when John had heard in the prison the works of Christ, he sent two of his disciples,

³ And said unto him, Art thou he that should come, or do we look for another?

⁴ Jesus answered and said unto them, Go and shew John again those things which ye do hear and see:

⁵ The blind receive their sight, and the lame walk, the lepers are cleansed, and the deaf hear, the dead are raised up, and the poor have the gospel preached to them.

⁶ And blessed is he, whosoever shall not be offended in me.

⁷ And as they departed, Jesus began to say unto the multitudes concerning John, What went ye out into the wilderness to see? A reed shaken with the wind?

⁸ But what went ye out for to see? A man clothed in soft raiment? behold, they that wear soft clothing are in kings’ houses.

⁹ But what went ye out for to see? A prophet? yea, I say unto you, and more than a prophet.

¹⁰ For this is he, of whom it is written, Behold, I send my messenger before thy face, which shall prepare thy way before thee.

¹¹ Verily I say unto you, Among them that are born of women there hath not risen a greater than John the Baptist: notwithstanding he that is least in the kingdom of heaven is greater than he.

¹² And from the days of John the Baptist until now the kingdom of heaven suffereth violence, and the violent take it by force.

¹³ For all the prophets and the law prophesied until John.

¹⁴ And if ye will receive it, this is Elias, which was for to come.

¹⁵ He that hath ears to hear, let him hear.

¹⁶ But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows,

¹⁷ And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented.

¹⁸ For John came neither eating nor drinking, and they say, He hath a devil.

¹⁹ The Son of man came eating and drinking, and they say, Behold a man gluttonous, and a winebibber, a friend of publicans and sinners. But wisdom is justified of her children.

²⁰ Then began he to upbraid the cities wherein most of his mighty works were done, because they repented not:

²¹ Woe unto thee, Chorazin! woe unto thee, Bethsaida! for if the mighty works, which were done in you, had been done in Tyre and Sidon, they would have repented long ago in sackcloth and ashes.

²² But I say unto you, It shall be more tolerable for Tyre and Sidon at the day of judgment, than for you.

²³ And thou, Capernaum, which art exalted unto heaven, shalt be brought down to hell: for if the mighty works, which have been done in thee, had been done in Sodom, it would have remained until this day.

²⁴ But I say unto you, That it shall be more tolerable for the land of Sodom in the day of judgment, than for thee.

²⁵ At that time Jesus answered and said, I thank thee, O Father, Lord of heaven and earth, because thou hast hid these things from the wise and prudent, and hast revealed them unto babes.

²⁶ Even so, Father: for so it seemed good in thy sight.

²⁷ All things are delivered unto me of my Father: and no man knoweth the Son, but the Father; neither knoweth any man the Father, save the Son, and he to whomsoever the Son will reveal him.

²⁸ Come unto me, all ye that labour and are heavy laden, and I will give you rest.

²⁹ Take my yoke upon you, and learn of me; for I am meek and lowly in heart: and ye shall find rest unto your souls.

³⁰ For my yoke is easy, and my burden is light.