Matthew 16

Which worship songs are based on Matthew 16?

You Are I Am — Sanctus Real (2025) Matthew 16:13-16
The first verse closely retells Jesus asking his disciples about his public identity and then demanding their own answer. It reproduces the proposed identities of John the Baptist, Elijah, and a prophet before presenting Peter's confession that Jesus is the Christ.
Love Has Called My Name — Neal Morse (2020) Matthew 16:13-16
Jesus’ examination of the Twelve closely reproduces his questions at Caesarea Philippi concerning public opinion about the Son of Man and the disciples’ own identification of him.
Death. Ascension. Resurrection — Impending Doom (2012) Matthew 16:15
The opening reproduces Jesus’ question to his disciples about his identity, introducing the song’s declaration of Christ’s authority. The same question also appears in Mark 8:29 and Luke 9:20.
TRUST MY SOUL — CHANGETHEWXRLD (2023) Matthew 16:15-17
The singer describes recognition of Christ as a divine revelation rather than knowledge supplied by human beings, closely paralleling Jesus’ response to Peter’s confession.
The Good Confession (I Believe) — Andrew Peterson (2008) Matthew 16:16
The chorus closely adapts Peter’s confession identifying Jesus as the Messiah and the Son of the living God, making it the singer’s personal declaration of faith.
The Keys to the Kingdom — Neal Morse (2019) Matthew 16:17-23
The song closely reenacts Jesus naming Simon as Peter, attributing his insight to divine revelation, promising him the kingdom’s keys, predicting suffering in Jerusalem, and receiving Peter’s resistance to the cross.
Storming the Gates of Hell — Impending Doom (2009) Matthew 16:18
The central image of a community confronting hell’s gates evokes Jesus’ declaration that the powers of Hades will not prevail against his church. The song transforms that assurance into an image of collective advance against spiritual opposition.
Build Your Kingdom Here — Rend Collective (2012) Matthew 16:18
The declaration that hell cannot halt God’s transforming work echoes Jesus’ promise that the powers of Hades will not prevail against his church. The song’s repeated identification of its praying community as the church reinforces this connection.
In the Hands of God — Newsboys (2009) Matthew 16:18
The song adapts Jesus’ image of hell’s gates being unable to prevail, applying it to Christ’s victory over death. The passage itself describes the inability of those gates to overcome the church Jesus builds.
The Devil Is on the Run — Casting Crowns (2022) Matthew 16:18
The church's unity and the shaking gates of hell unmistakably invoke Jesus' promise that he will build his church and that the gates of Hades will not prevail against it.
The Kingdom of Jesus — The Porter's Gate (2024) Matthew 16:18
The language about the gates of Hell appearing to prevail directly engages Jesus’ promise that the gates of Hades will not overcome his church.
I Know A Name - Live — Elevation Worship (2025) Matthew 16:18
The image of the gates of Hades losing their security under Christ's authority adapts Jesus' promise that those gates will not prevail against his church.
Worship Is Warfare — Meet Your Maker (2023) Matthew 16:18-19
The combined imagery of Hell's gates, authoritative keys, and binding the enemy unmistakably draws from Jesus' promise concerning the church, the gates of Hades, and the keys of the kingdom.
REBEL — Anne Wilson (2023) Matthew 16:18
The image of hell's gates being overthrown draws on Jesus' declaration that those gates will not prevail against his church.
God of the Promise — Elevation Worship (2018) Matthew 16:18
The bridge closely restates Jesus' declaration that the power or realm of death will not prevail against his church.
Death Where Is Your Sting — Cory Asbury (2018) Matthew 16:18
The paired references to Christ's Church and the inability of hell's gates to withstand it unmistakably echo Jesus' promise concerning his assembly.
Devils Den — Impending Doom (2018) Matthew 16:18
The confrontation at hell’s gates evokes Jesus’ declaration that the gates of Hades will not prevail against his people. The song adapts that image to portray resistance against the spiritual captivity surrounding the singer’s brother.
Marching On — Rend Collective (2018) Matthew 16:18
The assertion that Hell’s gates cannot withstand the advancing church closely paraphrases Jesus’ promise that the gates of Hades will not prevail against his church.
Take It All Back - What The Enemy Stole — Tauren Wells, Davies. (2024) Matthew 16:18
The chorus uses Jesus’ distinctive image of the gates of Hades being unable to prevail against his church, recasting it as an offensive declaration of spiritual victory.
Spirit of Elijah (Live) — Red Rocks Worship & Tyler Roberts (2025) Matthew 16:18
The interlude closely restates Jesus' declaration that the powers of death will not overcome his church.
I Know A Name — Elevation Worship (2025) Matthew 16:18
The shaking gates of Hell adapt Jesus' declaration that the gates of Hades will not prevail against His church.
Build Your Church — Elevation Worship (2021) Matthew 16:18-19
The chorus closely follows Jesus' promise to establish his church against the power of Hades and his accompanying language about kingdom keys, binding, and loosing.
HOUSE OF PRAYER — Mitch Wong (2025) Matthew 16:18
The contrast between human brand-building and the church Christ builds directly restates Jesus' promise that the powers of death will not prevail against His church.
I Believe (Live) — Bethel Music & Jonathan David Helser & Melissa Helser (2021) Matthew 16:18
The pairing of Christ’s church with the gates of Hades unmistakably invokes Jesus’ declaration that those gates will not prevail against his church.
Estamos de Pé (Ao Vivo) — Marcus Salles (2020) Matthew 16:18
The declaration that infernal power cannot prevail against the church unmistakably invokes Jesus’ promise concerning the gates of Hades and the church he would build.
Hope Of The Ages (Live) — Cody Carnes (2023) Matthew 16:18
The description of Jesus actively establishing his Church and opposition being unable to defeat it closely paraphrases his promise concerning the Church and the powers of death.
Salt And Light — Rend Collective (2026) Matthew 16:18
The declaration that hell’s gates cannot prevail closely reproduces Jesus’ promise concerning the advance and endurance of his church.
Vitorioso És (Ao Vivo) — Gabriel Guedes de Almeida (2019) Matthew 16:18
The declaration that hell has failed to prevail closely echoes Jesus’ promise that the gates of Hades will not overcome his church.
What A Worthy Name — Passion & Chidima (2026) Matthew 16:18
The declaration that the church stands upon a rock and withstands the powers of death strongly echoes Jesus' promise to build his church on the rock.
Hope of the Ages — Hillsong Worship (2021) Matthew 16:18
The description of Christ actively building his church and no opposing power being able to stop it closely paraphrases Jesus’ promise that he will build his church and that the powers of death will not prevail against it.
Know You Will — Hillsong UNITED (2021) Matthew 16:18
The declaration that Christ's church stands upon the Rock and cannot be defeated by the gates of Hell closely paraphrases Jesus' promise concerning His church and the gates of Hades.
Your Church Is Alive (Live) — Mack Brock (2020) Matthew 16:18-19
The chorus combines Jesus’ imagery of the rock, the building of his church, the keys of the kingdom, and the inability of Hades’ gates to prevail against it.
Estamos de Pé - Ao Vivo — Marcus Salles (2021) Matthew 16:18
The declaration that hell cannot prevail against the church unmistakably echoes Jesus’ promise that the powers of Hades will not overcome his church.
Take It All Back — Tauren Wells & Davies. & We The Kingdom (2022) Matthew 16:18
The image of advancing against hell’s gates draws directly on Jesus’ declaration that the gates of Hades will not prevail against his church.
We Believe - Live — LIFE Worship (2014) Matthew 16:18
The bridge closely reproduces Jesus’ promise that the powers of Hades will not overcome his church. The surrounding reference to the church reinforces this specific connection.
Holy - Live — Red Rocks Worship (2019) Matthew 16:18
The destruction of hell's gates reworks Jesus' declaration that the gates of Hades will not prevail against his church, intensifying the image from failed resistance to shattered defenses.
In the Night — Andrew Peterson (2010) Matthew 16:18
The final stanza closely adapts Jesus' declaration that the gates of Hades will not prevail against his church, applying that promised victory directly to Christ.
Trenches — Behold the Beloved (2022) Matthew 16:18
The united church's defiance of hell's gates directly recalls Jesus' declaration that the gates of Hades will not prevail against his church.
Keys to the Kingdom — Group 1 Crew (2008) Matthew 16:19
The central image of possessing kingdom keys unmistakably recalls Jesus entrusting Peter with the keys of heaven’s kingdom. The song extends this image of entrusted authority to its listeners collectively.
New Wine (Is My Bible A Barricade?) — Chris Llewellyn (2023) Matthew 16:19
The song invokes Jesus’ image of the keys of the kingdom, then critiques religious authorities who use that authority to restrict kindness and access rather than serve God’s purposes.
Standing — William McDowell (2011) Matthew 16:19
The kingdom-key imagery directly recalls Jesus giving Peter authority associated with the kingdom of heaven. The song extends that image to the congregation's declaration of spiritual freedom.
Midnight Son — Barren Cross (2012) Matthew 16:19
The image of Christ giving the narrator keys that open access to heaven evokes Jesus giving Peter the keys of the kingdom of heaven. The song adapts this distinctive image to personal salvation rather than reproducing Peter’s commission.
Simcha Shiri — Beckah Shae (2008) Matthew 16:19
The daughter’s possession of keys granting access to God’s kingdom adapts the distinctive image Jesus uses when addressing Peter. The song applies that image to the child’s belonging through faith rather than reproducing the passage’s original commission.
Always Good — Andrew Peterson (2018) Matthew 16:21-23
The song recalls Jesus plainly predicting his death and resurrection on the third day while Peter nevertheless fails to accept what he has been told.
Get Behind Me Satan — Neal Morse (2020) Matthew 16:21-26
The song closely reproduces Jesus’ rebuke of Peter after Peter rejects the prediction of Jesus’ death and resurrection. It also follows the passage through Jesus’ teaching about taking up the cross, losing one’s life for his sake, and the danger of gaining the world at the cost of one’s soul.
No More — Beckah Shae (2010) Matthew 16:23
The opening command to the spiritual adversary closely echoes Jesus’ rebuke of Satan when Peter objects to his approaching suffering. The song adopts that rebuke without retelling the encounter with Peter.
Hold Back the Rain — Group 1 Crew (2016) Matthew 16:23
The archaic command directed toward the enemy reproduces Jesus' rebuke associated with Satan, adapting it as an expression of spiritual defiance.
Get Behind Me — Emerson Day & Zach Williams (2025) Matthew 16:23
The phrase 'get behind me' directly references Jesus' rebuke of Peter in Matthew 16:23, where He tells Peter to get behind Him, indicating a rejection of the adversary's influence.
State of Me — Lacey Sturm (2021) Matthew 16:23
The repeated command uses the same brief rebuke Jesus directs toward Peter when Peter opposes his path to the cross. In the song, the phrase carries a dual function: ordering obstructive powers away while calling potential followers to move with the speaker.
Get Behind Me — Emerson Day (2025) Matthew 16:23
The phrase 'get behind me' directly references Jesus' rebuke of Peter in Matthew 16:23, where He tells Peter to get behind Him, indicating a rejection of the enemy's influence.
Destroyer — Skillet (2022) Matthew 16:23
The speaker’s command that the deceptive enemy move behind him closely echoes Jesus’ rebuke of Satan while correcting Peter. The song adapts that distinctive command into an act of resistance against lies and spiritual oppression.
Get Behind Me - Radio Version — Emerson Day (2025) Matthew 16:23
The song directly references the command to the devil to 'get behind me,' echoing Jesus' rebuke to Peter in Matthew 16:23, where Jesus tells Peter to get behind Him, indicating a rejection of temptation and a call to follow Him.
Choose You Again — Janet Paschal (2012) Matthew 16:24
The chorus adapts Jesus’ command to take up one's cross and follow him into a renewed commitment to discipleship. The accompanying surrender reinforces the passage’s call to self-denial.
Running - Live — Hillsong Worship (2012) Matthew 16:24
The commitment to shoulder the cross and follow Jesus despite personal cost directly adapts his instruction about discipleship.
One Thing - Live — Hillsong Worship (2007) Matthew 16:24
The commitment to surrender and bear the cross while following Jesus directly adapts his call to self-denying discipleship. Parallel wording also appears in Mark 8:34 and Luke 9:23.
I Will Follow — Chris Tomlin (2010) Matthew 16:24-25
The commitment to follow even at the cost of one’s life closely reflects Jesus’ linked teachings about discipleship, self-denial, and losing one’s life for His sake.
I Come Alive — Out of the Dust (2017) Matthew 16:24-25
The call to follow Jesus through self-denial and cross-bearing, together with the paradox of losing oneself in order to find life, closely follows Jesus’ teaching on discipleship.
All In All — Josh Garrels (2023) Matthew 16:24
The chorus closely reproduces Jesus’ call to self-denial, cross-bearing, and discipleship.
Let Go Let God (Challenge Remix) — Zaytoven & 1k Phew & ELI MONTANNA & GodFearin & Mike Teezy & GODINA (2024) Matthew 16:24
The instruction to take up one's cross and continue walking closely paraphrases Jesus' command that disciples deny themselves, take up their cross, and follow him.
End of Me — Building 429 (2008) Matthew 16:24-25
The chorus connects relinquishing one's self-directed life with finding true life, closely adapting Jesus' teaching that those who lose their lives for his sake will find them. The bridge explicitly identifies Jesus as the source of this call, reinforcing the connection to his teaching on self-denial and discipleship.
Love Riot — Newsboys (2016) Matthew 16:24-25
Jesus’ invitation to follow him is paired with surrendering one’s life for a greater purpose, closely reflecting his teaching that disciples must deny themselves and lose their lives for his sake.
100% — Phil Wickham (2023) Matthew 16:24-26
The opening verse closely invokes Jesus’ teaching that disciples must take up their crosses and lose their lives for his sake in order to find true life. Its contrast between discipleship and worldly gain also follows the passage’s immediate context.
Let Go — Hillsong Young & Free (2018) Matthew 16:24-25
The song’s central paradox parallels Jesus’ teaching that relinquishing self-directed life in order to follow him is the way to truly gain life.
Follow (Live From Passion 2024) — Passion & Melodie Malone (2024) Matthew 16:24
The commitment to take up one’s cross and follow Jesus directly restates Christ’s call to self-denial and discipleship.
My Heart Is Yours (Live) — Passion (2014) Matthew 16:24-25
The second verse closely adapts Jesus’ command to deny oneself and take up one’s cross. Its accompanying surrender of life reinforces the passage’s teaching about losing one’s life for Jesus’ sake.
One Life to Lose — Laura Story (2011) Matthew 16:24-25
The chorus closely adapts Jesus’ paradox that losing one’s life for his sake leads to finding it. The surrounding emphasis on relinquishing self-rule and accepting the cost of following him reinforces this passage’s teaching on discipleship.
No Rest for the Wicked — Stryper (2022) Matthew 16:24
The command to take up the cross directly invokes Jesus' call to self-denial and discipleship. Setting aside the crown further emphasizes relinquishing self-rule, though that detail is the song's own extension of the passage.
You Get The Glory — Jonathan Traylor (2020) Matthew 16:24
The singer describes his suffering as a personal cross he must bear, directly invoking Jesus' image of taking up one's cross as part of costly discipleship.
Turn Your Eyes Upon Jesus / Nearer My God to Thee — Elvis Presley (2022) Matthew 16:24
The opening presents cross-bearing as a personal obligation shared by all, closely reflecting Jesus’ command that anyone who follows him must take up his or her own cross.
Super Herói — Thiago Grulha (2012) Matthew 16:24
The singer identifies carrying his own cross as part of God's purpose for him, directly adapting Jesus' instruction that disciples take up their cross and follow him.
Letting Go For Dear Life — Tenth Avenue North (2024) Matthew 16:24-25
The bridge directly invokes Jesus' paradox that a person who relinquishes life for his sake will truly find it, connecting surrender with Christ's self-giving death.
I Want To Be That Man — Brian Free & Assurance (2012) Matthew 16:24
The narrator directly adapts Jesus' instruction that disciples take up their cross and follow him. The accompanying commitment to surrender reinforces the passage's call to self-denial.
I Am Second — Newsboys (2011) Matthew 16:24-25
The closing passage explicitly attributes to Jesus the teaching that surrendering one's life leads to finding life. The surrounding rejection of self-rule reinforces this passage's call to self-denial and discipleship.
Freedom — Corey Mills (2018) Matthew 16:24
The singer commits to taking up his cross and following Jesus, closely paraphrasing Jesus’ call to self-denial and discipleship.
War of Change - Reignited — Thousand Foot Krutch & Adelitas Way (2024) Matthew 16:24
The singer adopts Jesus’ instruction that a disciple must take up the cross, using it as a declaration of courageous self-sacrifice.
Wake Up — All Sons & Daughters (2012) Matthew 16:24
The chorus directly adapts Jesus' command that his followers take up their cross. Its communal call to commitment preserves the passage's emphasis on costly discipleship.
Promise Land — Peyton Parrish (2025) Matthew 16:24
The chorus directly invokes Jesus’ command that disciples take up their cross and follow him.
Take Up Your Cross — Jon Guerra (2025) Matthew 16:24-26
The song directly quotes Jesus' teaching on self-denial and taking up one's cross, emphasizing the necessity of sacrifice for those who wish to follow Him.
Death of Ego — Nathan Wagner (2025) Matthew 16:24-26
The opening contrasts worldly gain with profound inner loss, closely reflecting Jesus’ warning that gaining the world cannot compensate for forfeiting one’s soul. The song’s wider call to relinquish the self also fits the passage’s immediate context of self-denial.
Devotion — Hillsong UNITED (2007) Matthew 16:24
The repeated commitment to cross-bearing and following Jesus closely reproduces his call to discipleship. This instruction also appears in Mark 8:34 and Luke 9:23.
Waiting on You — Bizzle (2019) Matthew 16:24-25
The claim that surrendering the self results in recovering true life closely condenses Jesus’ teaching that disciples must deny themselves and that losing one’s life for him is the way to find it.
For The Cause — Keith & Kristyn Getty (2020) Matthew 16:24
The personal vow closely follows Jesus’ threefold call to renounce self-rule, accept the cross, and become his follower.
What a Saviour - Live — New Wine Worship & Alfred Nygren (2018) Matthew 16:24-25
The song presents surrendering the self as the path to being truly found, closely reflecting Jesus’ teaching that disciples must deny themselves and lose their lives for his sake in order to find them.
Reckless — Jeremy Camp (2013) Matthew 16:24-25
The singer's commitment to relinquish his life and follow Christ closely adapts Jesus' teaching that disciples must deny themselves and that losing one's life for his sake leads to finding it.
Here I Go (Against All I've Known) — ApologetiX (2010) Matthew 16:24
The prayer for strength to carry a cross invokes Jesus’ command that his followers take up their cross. Its placement amid anticipated rejection reinforces the connection to costly discipleship rather than merely general hardship.
Walls — Sam Purpose (2019) Matthew 16:24-25
The lyrics connect self-denial with following Christ and describe losing one's life for his sake as true gain, closely restating Jesus' teaching on discipleship.
HOW MANY (feat. Mogli the Iceburg) — indie tribe & nobigdyl. & Jon Keith & Torey D'Shaun & Mogli the Iceburg (2026) Matthew 16:24-26
The closing verse combines renouncing the world with dying to self, closely reflecting Jesus’ teaching about self-denial, losing one’s life for him, and the futility of gaining the world.
Pick up the Pieces — Adelaide (2019) Matthew 16:24
The bridge directly adopts Jesus’ call to self-denial and cross-bearing as the defining posture of discipleship.
For The Cause - Live — Keith & Kristyn Getty (2017) Matthew 16:24
The personal vow closely reproduces Jesus’ command that disciples renounce self-rule, accept the cross, and follow him.
Zion & Babylon — Josh Garrels (2008) Matthew 16:25-26
The instruction to surrender life in order to discover it closely follows Jesus’ paradox about discipleship. The earlier confession of acquiring the world at spiritual cost reinforces the immediately adjacent warning.
Give My Life Away — Big Daddy Weave (2012) Matthew 16:25
The second verse closely paraphrases Jesus’ paradox that trying to preserve one’s life leads to losing it, while surrendering it for his sake leads to finding it. The closing commitment to surrender to God reinforces this specific connection.
Believer — Audio Adrenaline (2013) Matthew 16:25
The second verse presents relinquishing life as the means of finding it, closely adapting Jesus’ paradox about losing one’s life for his sake and finding it.
Nothing but You — Tauren Wells, Davies. (2017) Matthew 16:25
The pre-chorus closely restates Jesus’ paradox that attempting to preserve one’s life results in loss, while surrendering it for him leads to true life.
The Only Hope — Bebo Norman (2008) Matthew 16:25
The opening contrast between wanting to live and being called to die, developed through surrendering one's life as the only hope, closely adapts Jesus' paradox that seeking to save one's life loses it, while losing it for his sake leads to finding it.
Touch the Sky — Hillsong UNITED (2016) Matthew 16:25-26
The song closely restates Jesus’ paradox that life is found by relinquishing it, then recasts his warning about gaining the whole world while forfeiting oneself.
Don't Wait for Me — Josh Garrels (2008) Matthew 16:25
The second verse adapts Jesus’ paradox that losing one’s life for his sake leads to finding it. The speaker’s allegiance to his king frames the surrender of his former life as the discovery of the life he truly desired.
True Love — Phil Wickham (2007) Matthew 16:25
The second verse closely adapts Jesus' paradox that surrendering one's life for His sake leads to finding it. The surrounding emphasis on the cross supports this connection to His teaching about discipleship and self-denial.
More Of You — Colton Dixon (2014) Matthew 16:25-26
The second verse closely adapts Jesus’ warning against gaining the world at the cost of one’s soul. Its preceding surrender of personal control over life also reflects the immediately preceding teaching about losing one’s life for Jesus’ sake.
Started With You — Dan Bremnes (2025) Matthew 16:25
The paradox of discovering one's true self through losing oneself closely echoes Jesus' teaching that the person who loses their life for his sake will find it.
Guilt — Jaci Velasquez (2012) Matthew 16:25
The song adapts Jesus’ paradox that losing one’s life for his sake leads to finding it. Its movement from relinquishing the self to finding a way toward God makes this a recognizable paraphrase of that teaching.
Let Love In — Crystal Lewis (2014) Matthew 16:25
The chorus closely paraphrases Jesus’s paradox that whoever loses their life for his sake will find it. The song applies this teaching to self-giving care for others, although it leaves the qualification about Jesus’s sake implicit.
Dead Man Walking — John Waller (2009) Matthew 16:25
The bridge closely adapts Jesus' warning that preserving one's life leads to losing it, while relinquishing it for his sake leads to finding it. The contrast between losing and finding particularly matches Matthew's wording.
Over and Over — Vertical Worship (2020) Matthew 16:25
The bridge closely paraphrases Jesus’ paradox that surrendering one’s life for him is the way to find true life.
Make Me a Lover (Norway) — Sean Feucht (2012) Matthew 16:26
The opening question closely adapts Jesus’ warning that acquiring the entire world is worthless if a person forfeits their soul.
Hope — Beckah Shae (2011) Matthew 16:26
The second verse reverses Jesus’ warning about acquiring the entire world at the expense of one’s soul, describing people who relinquish worldly gain instead. The explicit exchange between the world and the soul makes this more than a general theme of sacrifice.
Take Me Home — John Schlitt (2012) Matthew 16:26
The warning that acquiring desired things can come at the expense of one's soul closely adapts Jesus' question about gaining the world while forfeiting the soul.
You Are Enough — Elevation Worship (2010) Matthew 16:26
The chorus echoes Jesus’ question about the value of acquiring the entire world. Its insistence that worldly acquisition cannot replace Jesus adapts that specific contrast rather than merely addressing wealth in general.
Most Of All — Forever Jones (2012) Matthew 16:26
The imagined acquisition of everything on earth closely adapts Jesus’ question about worldly gain at the cost of one’s soul. The song expresses that spiritual cost as separation from God; the same saying also appears in Mark 8:36.
We Are the Kingdom — Francesca Battistelli (2014) Matthew 16:26
The second verse echoes Jesus’ warning about gaining the whole world, rejecting worldly acquisition as the purpose of discipleship. It adapts that warning toward service rather than reproducing the contrast with losing one’s soul.
(*Fin) — Anberlin (2007) Matthew 16:26
The question about acquiring the entire world directly adapts Jesus’ warning about worldly gain at the cost of one's soul. The song redirects that warning toward a father's neglect of his four children.
Glitter and Glory — Avalon (2020) Matthew 16:26
The song paraphrases Jesus' teaching that profiting the whole world is worthless if it costs the soul, reframing worldly success as spiritual loss.
Letter to the Church — Bryson Gray (2021) Matthew 16:27
The chorus explicitly cites this verse and summarizes its teaching that the returning Son of Man will recompense each person according to their deeds.
Wonderful Time Up There — Johnny Cash (2007) Matthew 16:27
The song links Christ's coming with each person's receiving recompense according to their deeds. This closely parallels Jesus' declaration that the Son of Man will come and reward each person according to their conduct.

Matthew 16 (King James Version)

¹ The Pharisees also with the Sadducees came, and tempting desired him that he would shew them a sign from heaven.

² He answered and said unto them, When it is evening, ye say, It will be fair weather: for the sky is red.

³ And in the morning, It will be foul weather to day: for the sky is red and lowring. O ye hypocrites, ye can discern the face of the sky; but can ye not discern the signs of the times?

⁴ A wicked and adulterous generation seeketh after a sign; and there shall no sign be given unto it, but the sign of the prophet Jonas. And he left them, and departed.

⁵ And when his disciples were come to the other side, they had forgotten to take bread.

⁶ Then Jesus said unto them, Take heed and beware of the leaven of the Pharisees and of the Sadducees.

⁷ And they reasoned among themselves, saying, It is because we have taken no bread.

⁸ Which when Jesus perceived, he said unto them, O ye of little faith, why reason ye among yourselves, because ye have brought no bread?

⁹ Do ye not yet understand, neither remember the five loaves of the five thousand, and how many baskets ye took up?

¹⁰ Neither the seven loaves of the four thousand, and how many baskets ye took up?

¹¹ How is it that ye do not understand that I spake it not to you concerning bread, that ye should beware of the leaven of the Pharisees and of the Sadducees?

¹² Then understood they how that he bade them not beware of the leaven of bread, but of the doctrine of the Pharisees and of the Sadducees.

¹³ When Jesus came into the coasts of Caesarea Philippi, he asked his disciples, saying, Whom do men say that I the Son of man am?

¹⁴ And they said, Some say that thou art John the Baptist: some, Elias; and others, Jeremias, or one of the prophets.

¹⁵ He saith unto them, But whom say ye that I am?

¹⁶ And Simon Peter answered and said, Thou art the Christ, the Son of the living God.

¹⁷ And Jesus answered and said unto him, Blessed art thou, Simon Barjona: for flesh and blood hath not revealed it unto thee, but my Father which is in heaven.

¹⁸ And I say also unto thee, That thou art Peter, and upon this rock I will build my church; and the gates of hell shall not prevail against it.

¹⁹ And I will give unto thee the keys of the kingdom of heaven: and whatsoever thou shalt bind on earth shall be bound in heaven: and whatsoever thou shalt loose on earth shall be loosed in heaven.

²⁰ Then charged he his disciples that they should tell no man that he was Jesus the Christ.

²¹ From that time forth began Jesus to shew unto his disciples, how that he must go unto Jerusalem, and suffer many things of the elders and chief priests and scribes, and be killed, and be raised again the third day.

²² Then Peter took him, and began to rebuke him, saying, Be it far from thee, Lord: this shall not be unto thee.

²³ But he turned, and said unto Peter, Get thee behind me, Satan: thou art an offence unto me: for thou savourest not the things that be of God, but those that be of men.

²⁴ Then said Jesus unto his disciples, If any man will come after me, let him deny himself, and take up his cross, and follow me.

²⁵ For whosoever will save his life shall lose it: and whosoever will lose his life for my sake shall find it.

²⁶ For what is a man profited, if he shall gain the whole world, and lose his own soul? or what shall a man give in exchange for his soul?

²⁷ For the Son of man shall come in the glory of his Father with his angels; and then he shall reward every man according to his works.

²⁸ Verily I say unto you, There be some standing here, which shall not taste of death, till they see the Son of man coming in his kingdom.