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 nobis locuta est; viz., 15 (7 + 8) steps leading out of the court of the priests into the Holy of holies. In this, then, the allegory in which the interpretation of the church delighted for a long time seemed naturally at hand, viz., as Otmar Nachtgal explains, “Song of the steps or ascents, which indicate the spirit of those who ascend from earthly things to God.” The furtmaier Codex in Maihingen accordingly inscribes them “Psalm of the first step” (Psalm der ersten staffeln), and so on. If we leave this sensus anagogicus to itself, then the title, referred to the fifteen steps, would indeed not be inappropriate in itself (cf. Graduale or Gradale in the service of the Romish Church), but is of an external character such as we find nowhere else. Gesenius has the merit of having first discerned the true meaning of the questioned inscription, inasmuch as first in 1812 (Hallische Lit. Zeitschrift, 1812, Nr. 205), and frequently since that time, he has taught that the fifteen songs have their name from their step-like progressive rhythm of the thoughts, and that consequently the name, like the triolet (roundelay) in Western poetry, does not refer to the liturgical usage, but to the technical structure. The correctness of this view has been duly appraised more particularly by De Wette, who adduces this rhythm of steps or degrees, too, among the more artificial rhythms. The songs are called Songs of degrees or Gradual Psalms as being songs that move onward towards a climax, and that by means of plokee' epiplokee'), i.e., a taking up again of the immediately preceding word by way of giving intensity to the expression; and they are placed together on account of this common characteristic, just like the Michtammim, which bear that name from a similar characteristic. The fact, as Liebusch objects, that there is no trace of מעלות in this figurative signification elsewhere, is of no consequence, since in the inscriptions of the Psalms in general we become acquainted with a technical language which (apart from a few echoes in the Chronicles) is without example elsewhere, in relation to poetical and musical technology. Neither are we refuted by the fact that this as it were climbing movement of the thoughts which plants upon a