The second strophe (vv. 4-6) corresponds to the third of Psalm xcvi.; but whereas there the Gentiles were summoned to bring offerings into the courts of Jehovah, here it is rather the glad tumult of vocal praise, mingled with the twang of harps, and the blare of trumpets and horns, which is present to the singer's imagination. He hears the swelling chorus echoing through the courts, which are conceived as wide enough to hold "all the earth." He has some inkling of the great thought that the upshot of God's redeeming self-manifestation will be glad music from a redeemed world. His call to mankind throbs with emotion, and sounds like a prelude to the melodious commingling of voice and instrument which he at once enjoins and foretells. His words are largely echoes of Isaiah. Compare Isa. xliv. 23, xlix. 13, lii. 9, for "break forth into," and li. 3 for "voice of melody."
The final strophe is almost identical with that of Psalm xcvi., but, in accordance with the variation found in vv. 1-3, omits the summons to Israel to proclaim God's Kinghood among the nations. It also inverts the order of clauses in ver. 7, and in ver. 7_b_ quotes from Psalm xxiv. 1, where also "the fulness of it" precedes, with the result of having no verb expressed which suits the nouns, since "the world and the dwellers therein" cannot well be called on to "thunder." Instead of the "plain" and "trees of the forest" in the original, ver. 8 substitutes streams and mountains. The bold figure of the streams clapping hands, in token of homage to the King (2 Kings xi. 12; Psalm xlvii. 1) occurs in Isa. lv. 12. The meeting waves are conceived of as striking against each other, with a sound resembling that of applauding palms. Ver. 9 is quoted from Psalm xcvi., with the omission of the second "He cometh" (which many versions of the LXX. retain), and the substitution of "equity" for "His faithfulness."