The Psalms of Ascents, found between Psalm 120 and Psalm 134, are a distinctive group of 15 psalms, often referred to as the Psalms of Degrees in the King James Version and as the Psalms of Ascents in the New King James Version. These psalms are linked by the Hebrew term *ma'aloth*, which translates to "goings up" or "journeys up," suggesting a movement upward in steps, stages, or degrees. This concept of gradual ascent shapes various theories about their purpose and use. One idea, known as Thirtle's Theory, connects these psalms to King Hezekiah's life, proposing that Hezekiah composed 10 songs corresponding to the 10 degrees the shadow retreated on the sundial during his miraculous healing, with an additional 5 songs to match the 15 years of life granted to him by God. Among the 15 psalms, 10 are anonymous, 4 are attributed to David, and 1 to Solomon, aligning with the numerical significance of the miracle. However, some of these psalms may have been written later, possibly during the time of Ezra, casting doubt on this theory's complete accuracy. Beyond this, the Psalms of Ascents are widely regarded as a cohesive collection, often called a "Psalter within the Psalter" or a "Little Psalter," due to their formal arrangement as a group. Various interpretations exist about the meaning of "ascents." Some suggest the psalms were sung on the 15 literal steps from the Court of Women to the Court of Israel in the temple by the Levitical Choir during the Fall Festival Season, though this is not conclusively supported. Others propose the term reflects a musical style, possibly indicating a progression from a lower to a higher key or from soft to loud, but the wording of the psalms does not consistently support this. Another view sees the psalms as written in a gradually ascending manner, where ideas are repeated and expanded, as seen in Psalm 121, though this pattern is not uniform across all psalms. There is also a notion that these psalms were sung by Jews returning from exile in Babylon, but few fit the specific circumstances of such a return. The most widely accepted view is that the Psalms of Ascents are pilgrimage songs, sung by Israelites as they journeyed up to Jerusalem for the three great feast seasons of the year—Unleavened Bread, Pentecost, and Tabernacles. Jerusalem's elevated location reinforces this idea of "going up," and this perspective finds strong biblical support. Some suggest these psalms align particularly with the Fall Festival season, potentially matching the first 15 days of the seventh month, Tishri, with specific themes like distress on the Feast of Trumpets (Psalm 120), affliction on the Day of Atonement (Psalm 129), and unity before the Feast of Tabernacles (Psalm 133). Internally, the Psalms of Ascents show a structured organization, with a 7:1:7 pattern centered on Psalm 127, attributed to Solomon, flanked by seven psalms on each side. Each group of seven contains 5 anonymous psalms and 2 by David, with an ascending order in their placement. The sacred name of God, JHVH, appears 24 times in the first seven, 3 times in the central psalm, and 24 times in the last seven, showing symmetry. Alternatively, the 15 psalms can be divided into five groups of three, reflecting themes of distress, trust in God, and praise for His blessing and peace. For instance, in the second group (Psalms 123-125), Psalm 123 expresses distress and a focus on God, Psalm 124 emphasizes trust in His deliverance, and Psalm 125 offers praise for His protection and peace. The overarching theme of pilgrimage in these psalms extends beyond ancient Israel's journey to Jerusalem, pointing to a lifelong ascent toward dwelling in the house of the Lord forever. This journey, culminating in Psalm 134, reflects a destination of eternal blessing and glory to God, where His people find complete divine grace in His presence.