Frontier Town, the saga of the Roaring West. Frontier Town, El Paso, Cheyenne, Calgary, Tombstone. Frontier Town. Here is the adventurous story of the early west, the tamed and the untamed. From the Pekos to Powder River, Dodge City to Poker Flat. These are the towns they fought to live in and lived to fight for. Teaming crucibles of pioneer freedom. Frontier Town.  That's me. There are several things you gotta know and the least of them is law. The most of them is trouble. It was only a few weeks ago that I had a letter from Colonel Winfield, an old friend of my father's who'd settled a hundred or so miles away from my hometown in a place known as Farm and Valley. Colonel Winfield wrote that he needed help, needed it bad. And to quote the old gentleman, the kind of help he needed might be legal, but probably otherwise. Well, it took Cherokee, O'Bannon and myself about a day to get ready and pack up and another few days to ride up to Farm and Valley. And it was while Cherokee and I were on the trail that Colonel Winfield's trouble first came to a head. Early one morning, the Colonel and his daughter, Georgia, were paid a call by the Colonel's oldest friend and next door neighbor, Henry Trowbridge.   I got a good mind to shut yours for you, Henry Trowbridge, so you won't be able to use it for a month of Sunday. Daddy, now that's no way to talk to Mr. Trowbridge. You keep out of this, Georgia. I'll talk to him or anyone else, just the way I want him.  Eh, well, you've been trying to sell your ranch for years. But now, just because someone wants to pay a decent price for both our places, you gotta go and act as if I were trying to eukary you out of something. Uh, hogwash. Well, now I've taken all the hogwash from you while I'm going to take. Oh, is that so? Yeah, that's so. And if you know what's good for you, Trowbridge, you'll clear out here. Oh, now how can you talk that way to your oldest friend? He's no friend of mine. Anymore, Georgia.  Trying to talk me into selling my ranch just because you want to sell yours. All right. I'm through talking, but I'll promise you one thing. You bull-headed old gopher. You're gonna regret what you're doing. Regret it mighty soon. Dad, yeah, I'm just... Well, all I can say is that I'm just thoroughly ashamed of you. Yeah, it's too blessed bed. And so you don't get contaminated staying in the same room with me. Go out and find that shiftless foreman of ours and tell him I want to see him. Ruth? What do you want to see Ruth for? Because I want Ruth to start rounding up the cattle. Henry Trowbridge and I, I'm driving my herd to market so I don't have to stay around here and listen to all that cattle wall and about selling all ranches. But what about Chad Remington? I thought you wrote him to come up here. Well, what about Chad? You get here when he gets here. And if we're gone, maybe he can take the few days to find out what's going on behind the scenes. Well, fortunately, Cherokee and I got to the colonel's place before he had a chance to trail his herd to market. And between the colonel, Georgia, and Ruth, the ranch foreman, we finally dragged out the story of what had been going on. That's a bold roll, I can tell you, Chad. This cattle broker, Big John Biggers, claims he represents some pecking house that wants to buy both Henry Trowbridge's ranch and mine. And I know blame well the price they're offering for my ranch roll. It's so gold-blamed high, it just can't be honest. Pardon my intrusion, Colonel Winfield, but haven't you heard the old expression about not looking a gift horse to teeth, especially teeth are solid gold? There's another old expression you ought to learn, Cherokee. The one about all is not gold, it glistens. Chad, the awful thing about this whole business is the fact that it's breaking up a 40-year friendship between Mr. Trowbridge and my father. Yeah, I can imagine. Since Trowbridge is insisting that he wants to sell. Well, why doesn't this pecking house buy Trowbridge's place and let it go with that? For the life of me, I don't understand. Big John just keeps saying his both places are none. Isn't that so, Ruth? Well, I saw Mr. Bigger in town last night and tried to argue with him for all the good it did. But it's just like the boss said, Mr. Remington, either they sell both ranches together as one piece or there ain't no deal. Mm-hmm. Uh, how do you feel about this thing, Ruth? Do you think that Colonel ought to sell? At that price, you ought to jump at it. Why, if it was me, there was someone at the front door, Joe, just go let them in. Oh, don't bother, Mr. Georgia, I'll let them in. Oh, hello, Mr. Trowbridge. Howdy, Ruth. It's all right if I come in. Mr. Trowbridge, Dad. Come on in, Mr. Trowbridge, and meet Chad Remington and Mr. O'Bannon. Yeah, how'd it do? How'd it do? Oh, glad to know you. Colonel, I just couldn't eat my supper after what happened this morning without, uh, coming over and apologizing for losing my temper. Well, that's a mighty nice thing for you to do, Mr. Trowbridge. Colonel and Georgia were just telling us about the little set to you had this morning. Well, uh, Colonel, we've been old friends too long to be old fools now. We're there.  If there's any apologizing to do, I'm gonna do it.   You see, the Colonel asked me up here thinking perhaps I could help untangle this little mystery. And since both ranchers are involved, well, I'm mighty glad you dropped in at the time you did. Thanks. Remington, you see, well, to be perfectly honest, I've been pretty hard pressed for money lately. Money? Why didn't you come over and ask me for what you needed? Well, Colonel, I just couldn't do that. Five years ago when Emma was so sick just before she passed on, the doctor and ran so high, I, well, I mortgaged my place to the bank. The loan's been passed due three months now and they're, well, they're ready to close me out. Why? And, Colonel, didn't you come and tell me, old Billy Go? I didn't need to when Big John come along with that offer. You see, that's why I was so set on making the deal. But, oh, well, it's, it's all right, Colonel. I'm not going to try to force you into it and, well, I feel better if we haven't told you the truth. Well, how much do you owe that concern bank? Well, a little more than 4,000, but... The trouble with you, Henry, it always has been you're as stubborn as the Missouri Mule. And, George, Handman McClasses. Oh, what are you up to anyhow, Colonel? I'm opening him a safe and giving Henry the money he needs to pay off the bank. Well, no, Colonel, I'm going to know. I won't take it, no. It tickens you, old. And if you say one word about thanking me, I will run you out of here. Yeah, but... Now, here it is. Just the way I got it from the bank. Four bundles of bills, each $1,000. Dead, rat it? Oh, boy, dry up. You'll start blubbering like a kid in a minute. Yeah, but it's probably all the money you got. Well, let you know. There's still another 4,000 out right there in the safe.  Well, I... I mean, I see you tomorrow, Colonel. Ruth, go outside and make sure Mr. Trowbridge finds his horse all right. So dark, and with him crying, he may wander around all night. Well, you bet, Colonel. Now, I think I'll just keep on going down to the front house. Good night. Colonel, after that exhibition, I'm surprised we're not all a little bit teary-eyed. If that's the way you treat your friends, I'm proud to be number one of them. Although we haven't met before, Colonel, if you're looking for a friend to need, I'm in need, and I could very quickly become a friend of yours. Colonel, keep any drinking liquor around the house, Chad. Mr. O'Baird, and you seem to forget that I come from the south, and I've got some of the rareest, finest, smoothest... And you're gonna keep it, Colonel. Anything that old and rare and smooth will be so far under Cherokee's palette that his tonsils would think he was drinking molasses syrup. Well, is there anything wrong with molasses syrup? Certainly not. Good. So if you'll follow me out to the kitchen, I'll pour you the biggest glass of molasses syrup a man ever drank. Well, while I coerce the old man and into retiring with only the nightcap you tie around your head, we found out later that Colonel Winfield's form and root hadn't gone to bed. In fact, he hit his horse and street for Big John Bigger's office in town. Well, that's where I come in, John. Here's over elbows. But Trowbridge having enough money now to pay off the bank even he's not gonna want to sell out to us. He hasn't paid off the bank yet, has he? Well, no. You and I are gonna be waiting for Mr. Trowbridge in the trail that leads from his place to the bank tomorrow morning. Well, if you mean gun him down, that's risky business. This whole thing is risky business. We gotta get both those ranches, or we ain't got no deal with that mining company. I know, still don't see where that mining company just don't buy one of the ranches. Because when they started to check on that vein of silver you stumbled on up at the back end of Winfield's place, they found that half of it was over on Trowbridge's spread. Yeah, I suppose they know what they're doing. Now that Trowbridge has got that money that Colonel's given him, he's never gonna sell. Just like the Colonel said, he's stubborn as a mule. There are two kinds of mules, my friend. Live mules and dead mules. And after Trowbridge leaves his place and goes on for the bank tomorrow morning, you know the kind of a mule he's going to be, don't you? So you better go home now and get some sleep. When you start shooting tomorrow morning, I want your nerves to be steady. For the life of me, I don't understand why you get up at this ungodly hour in the morning to ride into town. If I've told you once, I've told you ten times. I want to get in and have a little talk with that big-hearted cattle broker, big John Biggers. Try to find out what packing house is local enough to offer twice at... Billy Blue Blazers. No matter where we go, bullets fly thicker than mosquitoes over swamp. Come on, Cherokee, knock on that horse. Those shots came from just ahead of us. Colonel Lightning Chad? That's Colonel Winfield's form and root. No wonder what in Blazers he's up to. Rain up! Whoa, boy, easy. Oh, it's you, Remington. Mercyful Providence Chad. It's Henry Trowbridge. Shot four times through the back. Poor old cuss.  Why, I... I... Now, look here, Remington. Are you aiming to accuse me of anything? Where's Trowbridge's money belt? How in Blazers should I know? I can see where it was ripped off his trousers. And since you got here as fast as you did, you ought to know something about it. What are you doing now, calling me a thief? If I had a mind to call you anything, thief might be just a small part of it. Yeah, well... That was a neat bit of pugilistic perfection, Chad.  Hi, Cherokee. Come on. Help me get Trowbridge's body to town. There must be a lawman in Barman Valley. Before we're through, I've got a feeling he's gonna need a few dozen two-gun deputies. We'll return to the second act of Valley of the Barmans, our exciting Frontier Town adventure in just a few moments. And now, Frontier Town. Well, I guess we all find it out sooner or later. After a thing is over and everything's explained, it seems quite simple how all the little jigsaw pieces fit together to make the picture. But with poor Henry Trowbridge dead, $4,000 gone and the bank about to take over his ranch, Cherokee and I, along with the Colonel and his daughter, faced what seemed to be an insuperable problem. There appeared to be no answer whatsoever to supply a reason why some unnamed packing house should want both ranches so badly they'd pay a fantastic price. Our visit to the cattle broker, Big John, having been interrupted by the finding of Trowbridge's body, I asked the Colonel's foreman, Root, to ride into town and see if Big John wouldn't come out to call on us. And he did and the conversation was most enlightening. You can talk all you want, Bigger, but I'm not changing my mind. My ranch is not for sale. Oh, but surely, Colonel, there must be some price we could agree on that you'd take for your layout. Oh, I don't mean to butt in, Bigger, but just how high can you go? Well, I, uh, I don't know for sure, Remington, but I might be able to induce my clients to raise their bid, uh, oh, another few thousand dollars. And maybe another few thousand dollars on top of that, huh? Yes, it's possible. It's possible. In other words, your so-called clients want this property at any price. So-called clients, eh? Just what are you hinting at? All right, Bigger, here it is. No people in their right minds are offering a ridiculously high price for a couple of ranches like these two just to supposedly raise cattle for a packing house.  I don't need you to put words in my mouth, but since the shoe seems to fit you, let's let it go at that. Hey, look out! Thanks, Cherokee, but I saw him go for his gun. He wants to clear leather. It's all right with me. Well, Big John, figure you're big enough to try it? Remington, I-I'd give you a chance at that. But right now, it just don't happen to be convenient. You mean your insurance policy isn't paid out? Colonel, that offer I made you was good for six more hours.  You know where you can find me. In my office. I'll be there until six o'clock tonight. Well, you certainly made him back down. Sure did my heart-goat chair to see him get his comeuppance. That still doesn't explain just why anybody wants to pay the price he offered you for the ranch. It convinced me of one thing, Cherokee. They don't want this place just to raise cattle. Now, tell me something, Colonel, are there any minds or deposits any place around here? Say, you don't think they found gold up on the ridge at the back end of my place, do you? I haven't the slightest idea. All I was doing was asking. You know, you just gave me an idea, Chad, and don't go on if I don't think it's worth checking up on. Daddy, where are you going? Never mind about me, Georgia. You stay here and keep our business company. Chad Remington isn't the only galoot around these parts who can smoke out trouble. I tell you, boss, I think Remington's under what we're trying to pull. A lot of good is going to do him, Root. That silver's been backing them hills for a couple of thousand years. No one found it until you just happened to dig a post hole up there. Yeah, I know. But even if they don't find the silver, what good is that going to do us if we... Hey, look, there comes the Colonel out of the house and he's heading straight for his horse. I wonder where he can be going all by himself. All right, Root, come on. We're hitting our own horses and trailing Colonel Winfield. I don't know where he's going, but we're sure finding out. All right, Reina. Whoa, whoa, whoa, whoa. You see where Winfield's going? Yeah, he's heading right for the ridge where we chipped out the rock and you can see the silver oil. The ever-spotted our deal's done for. Get that rifle of yours out of the saddle booth. Sure, but... When the Colonel gets right on the top of the ridge, then we'll cut loose. When they find his body, it'll roll in the other side under Trowbridge's property. Yeah, that's right. All right, come on, come on. Line him up in your sights now. All right now, let him have it. That's about all there is to it, Marshal. When the Colonel didn't come back, we went out looking for him. Found his body down at the bottom of the drawer loaded with lead. There's not much chance of proving a case from that, no matter who you suspect. And I've got the Colonel's wheel here, and if he wouldn't mind my reading it now, it'll save me a long ride out to the ranch sometime later. It's all right, Marshal. There's nothing to be gained from putting it off. Well, it runs about four pages, but when it's all through, it just leaves the ranch to you, Georgia, 50-50, with Chad Remington on an equal basis. What? Half of it to me? I can't accept that, Georgia. I'm afraid you'll have to, Chad. Father was afraid something like this would happen. He left you half the ranch to make sure you'd look out for me. It'd be paid for your trouble. Well, I think I may accept it for the time being. If you don't mind, Georgia, let's be heading back for the ranch. I'm mighty curious to see how Root feels when he hears he's got me for his new boss. Push his way. Are you sure, Miss? Sure. Root, it may interest you to know that Colonel Winfield left half this ranch to me, and from now on, I'm giving the orders out here. Oh, is that so? Will I still have something to say about the running of this place? Well, I'm one gent who's not going to end up like your father did. I'm selling out and getting out of here. Well, you can't sell without my signature, and I certainly am not selling. That's what you think. Now, come on, let's not air our troubles in front of the health around here. You and I are going into the house and do a lot of talking.  You keep the ranch since you want it so bad. I certainly shall. But I'm taking what money's left in the safe and clearing out of here. Well, you're no better than a low-down crook. That's enough. Now, go on. Get that safe open while you're still able.  That's what you are. A common ordnance. Take the money. Take it and get out. Just a minute, Remington. Root. You're not leaving here yet. He threw down on me and made me open the safe. Yeah, I saw the whole thing from outside the window. All right, Remington. I'll take that cash. Hand it over. For sure. I'll be glad to. And if you know what's good for you, young lady, you won't try to follow me. Mr. Baker, I don't blame you for not believing me. But what I'm telling you is still the truth. Chad wants to sell you the Windfield Ranch. That just don't make sense. What's this memory doing here?  I'm not surprised after what he'd done. Pulled a gun in the gall, made her open the safe, and then lit out with all the money the Colonel left in the safe. What? Certainly did.  And he says if you'll get the girl here after dark tonight, he'll promise both of them will sign. I'd like to know what Remington's up to. He's just up to saving his own hide. That Georgia ran screaming to the marshal about Chad taking the money. Now he's wanted for burglary. What he's got to do now is raise enough money so he can hide out for a couple of years. Crime sure doesn't pay, does it? All right, tell him it's a deal. You're talking? You get the girl and Chad will be here about 10 o'clock tonight. Something awful funny about this. What do we care? As soon as the girl and Remington sign the deed, Remington's going to have a little surprise party. Since the marshal's out looking for him, I think it's only my duty as a decent citizen to turn him over to the law. Everything worked out just fine. I got to Bigger's office at 10 o'clock, and five minutes later, Georgia reluctantly signed the deed. There. But you'll never get away with this, Remington, believe me. Okay, Remington. Now you sign it and the deal will be closed. I'll sign it when I get $5,000 laid in my hand. All cash. Cash? Well, what do you think I'd get $5,000 at this time of night? I guess I forgot to tell you that he wanted it in cash. You better find it, my friend. What's in that cash box of yours there on the desk? Oh, yeah. I forgot about that. Well, I think I might have most of it in cash. There you are. There's 4,000 of it bundled up just the way it came from the bank. Thank you, Bigger. All right, Cherokee. Take this package of bills and compare the serial numbers with the money we took out of the Colonel's safe today. Yes, Dee. Yes, Dee.  Plenty. If the serial numbers on these bills are in sequence with those that were left in the Colonel's safe, then this must be the money that was stolen from Henry Trowbridge's buddy. And we know who and why it was taken. Chad, you were right. These numbers are all in sequence. Cherokee, don't let room get away. Georgia, get back! Get out of the way! Now that we've got the proof that they killed Henry Trowbridge, I don't think we'll have too much trouble finding out what made those ranchers valuable enough to risk a double-murder charge.   Mind telling you, Chad, that you certainly had me mystified for a while? You and Georgia put on a show. You and Georgia put on that argument. It certainly sounded like the real thing. That's one of the nice things about those Southern girls. They put on an act. They put everything they've got into it. Always have admired a Southern beauty. Couple is, none of them ever admired me. Well, now that Georgia is the sole owner of a fairly prosperous silver mine, you might go back and try setting your cap for her. You mean marriage? Oh, with a girl like Georgia, marriage should be very interesting. Well, I will admit, the young lady has her good points. Oh, now, you can speak more clearly than that, Cherokee. Huh? What do you mean? Now, knowing that the wind feels come from your favorite state, Kentucky, what you really meant to say was that you were interested in the young lady because she has her good pints. Yes, she certainly has her good pints. Now that silver mine she's got, plenty of quartz, too. Frontier Town, starring Tex Chandler and featuring Wade Crosby, is a Brucell's production. Story and Direction by Paul Franklin. Music written and played by Ivan Diffmars. Be sure to be with us again same time next week for another fine action adventure story with your favorite young western star, Tex Chandler. And now this is Bill Foreman to tell you that Frontier Town comes to you from Hollywood.


That okay, it's that time of day whoops got to turn on the video. Hello. Hello. Hello. Hey, hey, hey, it's that time of day. It's time for watch me work. We're going to do it today, just like we do it pretty much every Monday. We're going to work together for 20 minutes. And then we're going to talk about your work and your creative process. We've been doing this show since like 2009. So tell your friends, if they haven't heard about it already and some people go, Why do I want to get online and watch you work. Let me explain it again. It's about you to me and the title is you and we're here to talk with you about your work and your creative process. And it's a lot of fun, and we all get work done. So if you want to ask a question during the Q&A time. We'll tell you how to do it go lolly. Yeah, so if you want to ask a question and you're here in zoom with us, you can click the raise your hand function which is in the reactions tab at the bottom of your screen. If you have any trouble accessing that feel free to message me in the chat and I will help you out. If you're watching the live stream on howl round you can feel free to send us your questions via the public theaters Twitter or Instagram account or via watch me works Twitter account, which is at watch me work SLP with the hashtag howl around that's hashtag howl howl. Awesome, great. Okay. And yeah, here it is on my very messy desk today. Here is the timer, and here is the time here we go 20 minutes, bam. All right, all right, all right. Here we are. Now we're in the talking part. So if anybody has any questions about their work or their creative process, let's do it. Please. Awesome, Rebecca. You should be able to unmute yourselves. Hey, sister, how you doing? All right, Susan Lore, how are you? Well, I'm well. Good to see you. Good to see you too. How's the writing going? How's the work? Um, the work is, is happening. I've been working on, I've been working on a piece about John Henry. Oh, I don't know. And I'm trying to decide kind of what to do with it because it's turning out to be quite lengthy. Originally, I was going to put it on my medium side. It's, um, John Henry was, there's a book, an actual writer who did an investigation and found John Henry's grave. John Henry was actually a convict. He was, he was convicting, it was during the black codes and he was convicted of something probably standing on the street corner and, and I'm using it to think about essential workers during COVID and what it means to not have control over the conditions of your labor. Um, and I'm, I'm not quite sure where to, like, what to do with it. And, um, and, uh, yeah, I mean, I, I suppose I could, I could certainly pitch it to a couple of, of magazines like Guernica or maybe yes, but, um, I feel like it's a conversation that hasn't really sort of been had the way that, the way that workers were abused during COVID and continue to be abused, um, in, in those same sectors of, you know, fulfillment, order fulfillment and healthcare and other retail settings. Um, and I, I'm not sure it's very interesting yet, which is, I guess, probably the bigger problem. Um, so I'm, I'm trying to figure out how to make it engaging for, for folks so that they read, you know, my usual problem, how do I make it engaging so people read the horrible parts? That's great. Uh-huh. What do you think, what do you think you can do to make it? What do you think you can do to make it engage? I mean, it sounds pretty engaging already, but what do you think? Um, well I think part of it, I like, I like to put in um, song lyrics as kind of to break up sections of things I'm working on. Sometimes it's just one or two and sometimes it, depending on, on the, the piece and it's, it's always old songs, like from, you know, from the 1927 flood or, um, you know, there's like 100 John Henry songs, apparently. Um, but also, uh, so that to me is kind of fascinating and, um, I, I don't know how to person, you know, add any personal stuff here, not to insert myself into it, but to, you know, make it more, um, related to my daily life. There are, there are pieces I've written about, was, um, since Katrina that, you know, I've connected to my travel and, and that, you know, so I have things I can say, but this is, this is much more sort of rooted in, um, you know, that double entry accounting was, was perfected in the sugar plantations and that, that then becomes a standard for work. And then that standard for work is imposed on, on convicts and other folks and that becomes scientific management and, and the way we engage in management today grows out of enslavement. So, you know, that's, that's kind of the overview. That's the larger, I want, I want John Henry to be the the, kind of the avatar of that reality. What got you thinking about him? Um, I was, I was doing research on, uh, while ago on, on communist work songs in the rural south with black workers. Um, and this book came up and then, and then I realized this was about the black codes and, um, I found a manuscript of these work songs from the communist organizing in the south in the 10s in the 20s, 1910s and 1920s. Um, and then I read Accounting for Slavery, which, um, talks about, because a friend of mine is an accountant said, you have to read this book. So I read the book and it's about how cotton plantations, first sugar plantations and cotton plantations really perfected double entry bookkeeping and task management. And I, I love that stuff. So, um, and it got me thinking about sort of this, you know, fake movement of DEI and how it has really nothing to do with essential workers. So that's kind of the place I was headed. It's like, oh, essential workers are much more like, you know, workers of the early 20th century than they are like, you know, tech firms, although they are firing them right and left, but like media firms that, you know, have these fake approaches to, to equity in their organization. So, so that's kind of where it's been. And I've been back and forth on this for about six months, trying to figure out a way to make it interesting and also where it should go. So. Do you read, um, sub-stack at all? I'm going to turn on the light here. I have one sub-stack membership. But what are you recommending? I think, I love sub-stack. You know, it's a cool place to where you can find all sorts of great articles and you can of course have your own, you know, there. I think it's kind of a cool, I don't know, I just came to mind because I mean, I don't buy magazines, you know, but I do read that kind of thing. Medium is also good.  Then you can, then it's not just about you approaching an entity. You know what I mean? It's about you establishing yourself or continuing to establish yourself as someone who writes cool things that people would be interested in. Yeah. I wasn't, I've had a thought about sub-stack, but I, I haven't sort of gone in to see kind of how it works and, and, but it's been on my radar a little bit. You know, there's some really cool writers on there. You know, I've enjoyed, you know, cruising around there and finding cool stuff to read. Well, I'll have to investigate it. Because I don't want to pitch it and have it sit someplace for 12 weeks. That's what I'm talking about. That's, so I think, I think you could get around that because it would be you putting something out there. Wouldn't be you pitching it. I don't, I don't think that's how sub-stack works, but I might be wrong. No, I think it's, it's creating a site and then inviting people to it. So, yeah. So I think for me, the quandary was pitching or not. And then the pitching it really, the, the voice and content has to go be a certain way that may not, I think it's hard for me to match up my approach with that sometimes. You just eliminate that. Eliminate the middle people. Unless they live in the earth, you know what I mean?  Yeah. Yeah. So just, you know, if we can find ways to just not have to interface with them then, and just get our work out there. Yeah. Yeah, I'm recognizing that. So as I'm trying to pitch the book, the manuscript, the longer piece, sort of waiting around for people to publish stuff is not helping me. So I mean, I get about one thing a year published and, and I'm not unhappy with that, but right now I need more to happen. So, so I can point them to things then that might, that has, and I can generate some followers that would probably go. Definitely. All right. Good question. Sounds like a really cool project yet again. Sounds like a cool project you're doing, Rebecca. Yeah, I'm going to rein it in and try to finish it. So thank you. Thank you so much. Thank you, Rebecca. Up next we have Myra. You should be able to unmute. Hi, Myra. So I'm still working on the same book that I was working on the last time I was coming to these. Huh? Cool. Yes. So I, but I am, I'm finding that there are parts of it that are, that have gotten away from me because I spent way too much energy and space on them. And I'm, and looking back at it, I'm, I'm thinking, and especially like in areas where, because I've lived in a few unusual places and I, and I was, you know, just sometimes the descriptions and everything seemed to get away from me. I talked too much. And so I'm wondering, you know, I, I'm, I'm thinking I need, as was just said, to rein it in a little bit. And I'm not sure whether I need to just stop and go through things, you know, like a chapter at a time and start cutting or should I continue on and then do a big lob at the end. You know, I just don't know the best way to go about that. I've never worked with anything this long. Right. So it's a great question. So you're, how, how close are you to the end? Not very. I'm about halfway through, I think. Great. Okay. Okay. So it's, is it a, what kind of work is it? Is it a novel? Is it a play? No, it's, it's, it is my memoirs. And I have like, I've already written about 200 pages. So. Great. That's amazing. That's amazing. I would suggest, I'd suggest getting through to the end of where you want to, you know, stop in this, in this installment of your memoirs since there's more to come. I would suggest getting to some place where you could call it the end. You know, definitely. Now I would also just, you know, we just a general note for everybody, you know, we are constantly hypnotizing ourselves. And the best hypnotist you know is you.  You can imagine, right? So, so we're saying things like, you know, you said I talked too much, you know, why you say that? Yeah. Well, because some, some topics I just seem to go on and on about. And I, you know, that's why I said that. Yeah. Maybe you have a lot to say.  So, you know, it's 2023 and it's still January. So, yes, this is true. This is true. So I also heard Rebecca saying something about putting songs in between sections or something. I write a lot of music and I'm, and I, and a lot of it has to do with these sections of my life. And I was also going to put my own music in between the sum of the sections. It sounds great. Do you, do you use a music program to do the notation or you, how are you going to do it? I don't know. I've never done that before.  You could put lyrics in there and then you could record the, the music. If you also write music, you could record it and either transcribe it yourself or have someone transcribe it for you. It would be cool to see like pieces of music. That'd be cool. I thought. Okay. Well, thank you. That, that, those are two things that have been kind of on my mind about this. Go through to the end and then once you have the whole thing, then you can start going through and rewriting. It's two different kinds of energy, two different activities, writing and rewriting. So I would suggest to the end or where you feel is the end for this installment of your memoir and then, then you can get to the rewriting process. Okay. Yeah. That sounds good. Okay. Sounds better. I don't want to just stop myself. There you go. See. Okay. Thank you. Thank you. Thank you. Up next, we have Jillian. Hey, Jillian. Yeah. Good to see you. Good to see you too. So I want to say thank you for the last time I was on here. He helped me kind of come up with a writing technique. So I've been doing that and that's been very helpful. I guess now what I'm struggling with is and this is something when I was mining, you know, because when you write, you mine from experience, but you mine from like what else is happening in the world. And I'm actually writing a musical right now in two parts about, well, to be as simple as possible, Black Lives Matter. And I am very reasonably disturbed and emotionally, you know, cored from what we're experiencing right now. And it is hard for me to write in these moments. And I've been working on it for a while. And these moments being as cyclical as they are affect me in a way where it's difficult for me to write what I know I feel called to write and what I need to write in this moment, because I'm just feeling so much. And yeah, so it makes me want to not write about it and write about something that's completely fictitious and completely not related to what is happening in the world. So the problem I have with that is I have deadlines, so I have to write. So I guess what, yeah, because I have a read through next month at a theater or two theaters. So I just don't know how to maintain that creative energy, but not be worn down by what's happening. And I'm sure I'm not the only person who feels that way. I don't think it's a single experience, but I just kind of want to know your thoughts on that. Well, it's great that it sounds like a beautiful project. You have a deadline, you have people waiting to who are going to read your work, and you wonder how can you can get something. I would say, you know, when you show up at these theaters, show up with what you have. So you kind of not take the pressure off, but you can be reasonable with your situation. So you can say, well, I'm just going to show up with what I have. I'm going to cross the finish line to the best of my ability given the situation that I'm in. So that would be helpful, or you could do what I like to call you lower the bar. It doesn't have to be this high. I'm finished, and it's great, and it's wonderful. Everybody, you know, it can be this hard to look. It's not even in the screen anymore. You can come as you are. Be real. Be real. And that's okay. And I got to say honestly, if it's not okay in the theater, what, they diss you, or they like judge you because you know, blah, blah, blah, you don't want to work with them anyway. Yeah, fair. Yeah, just told you what they like. You don't want to be around them, you know, an organization that doesn't have the doesn't have any kind of compassion for an artist in their process is an organization that you don't want to be around. You know, you're not looking for you're being real. So also so that's how you get to the finish line. Anybody can. And you do also during the day, you know, do what you can. You know, do what you can.   You surprised that there's violence like that going on? No. Right. Yeah. Right. Okay. So, so you knew that already. Right. Yeah. I'm not, this is what you said, but I'm just saying for example, you knew that. So you're already writing about this subject, right? So, so, okay. Is it something that you'd rather not talk about me? Why? Oh, yeah. It's not that I, yeah, it's not that I don't want to talk about it. I think it's, it's, it's not that I didn't know the violence was there. I do and obviously as writers, that's what we're doing. We're reflecting these things, but I think it's the evolution of where it goes and this question I keep asking myself is, am I, am I internalizing this? Am I continuing this like examination or trauma or black trauma for entertainment? This sideshow, if you will, like the song Blue, like sideshow by Blue Magic came to me and I just listened to it on repeat and I was like, this is inspiring me right now and it felt, I guess it felt like that is like as an artist, you know, if I'm talking about this experience and I'm putting this on a stage, am I contributing to the problem? So I think that's part of it. How you do it, it depends how you do it. I tell writers all the time, I don't, I do not think that writers these days are schooled, trained, educated. I mean, number one, I do not think people these days have been taught, trained, educated, given the tools to grieve, to have nuanced conversations. Yeah. Just on a basic level. Okay. Yeah. People, we are taught to thumbs up, thumbs down, cancel. Yeah. I've laughed. These are not tools that are going to really get in there deep. You know what I'm saying?  Right. Yeah. So it only stands to make sense that artists, those of us who are called to be introspective and go deep. I mean, not that nobody else is, but that's, that's part of what we have to do are also, we have not been educated, school trained to do that. And so a lot of very, my screen is glitching. We get a lot of very, I would say, poorly written stuff. Yeah. Yeah. Which is called trauma-borne because we do not, we have not been taught how to process stuff. Yeah. And I know this, I say it with love and I teach it, you know, I mean, I teach here, I also teach at NYU. There is a difficulty. There's a disconnect. But I'm not surprised. I have an 11 year old kid. We have to teach him to basic things, basic, basic things. So there's trauma-borne because it's written by people who do not know how to write in a nuanced fashion. And so basically the regurgitating the 11 o'clock news. Yeah. Okay. So you might have to up your game. Yeah. Up your game and lower the bar. Yeah. No, I think that's a great point. And you made a great point because I think that is, that's the line. And I see it a lot with younger people who want to do theater in a lot of groups. They're like, we just want to see plays that aren't about, that aren't trauma-borne. We want to see plays where we're not in pain. And, you know, I didn't, I'm not setting out to write that. And that's not how I see it at all. But I guess there's this fear of being canceled or this fear of being pushed aside because, oh, this is trauma-borne. So these are the things I think that catch me in these moments, because I think it is that I feel a responsibility to help people grieve. Feel. Let's start with feeling. Yeah. So as an American culture, you know, feeling is not something we might do anymore. What were we told?  Yeah. Really? When it happened, we were told, the directive from the government, from the powers that we was, go shopping. Remember? Okay.  Same directive. Okay. We are not encouraged to process the things that are going on because it gets in the way of us buying stuff that we do not need. So, yeah. So people in theaters, we want to see only black joy. We want to see black people in celebration, but we don't want to get to the point where we are only papering over the reality of existence in all its joys and sorrows. Yeah. We need to learn how to communicate the entirety of human experience.  So there you go.  And it's a real thing because people don't know how to write. I mean, come on, people don't know how to write.  That ain't literature, people. Yeah. See 11 o'clock news. Yeah. Oh, yeah. So, help your game and lower the bar, come as you are. Do the little bit you can and ask yourself constantly, how am I helping? How am I healing? Yeah. Always, always, always. Got it. Thank you. Don't think you have to show up in some grand way with a big piece. That's everything about any second. Please, please, please, just show up. Okay. All right. Thank you. Great question. Thank you, Jillian. Thank you, Jillian. At MC, we have you up next. How you doing, girl? How's it going? How are you, everyone? Hello, still the year of the rabbit. And my year. I'm trying to up my game. All right. I want to develop a practice where I finish things and send them out. So I'm trying and what you said earlier about, you know, the power of hypnosis and on ourselves. So I really, you know, any, I'd like to be able to write something every day. Okay. Well, it doesn't have to be great, but just get into that practice so that I have that muscle that says, okay, you have this day, you're going to write this, you know, and get done. And of course, I know later on, you know, I'll go back and rewrite and edit and all that stuff. But any tips on just getting into that mindset? What would you like to write every, what kind of thing would you like to write every day? Okay. Well, I've been inspired by poetry. I'm not a poet, but have you read Jericho Brown Crossing? Oh, it's amazing. And it's really inspired me. It's, can I read a little of that? Put in the chat. You only have a few minutes. So I won't take up too much time. No, I will just finish a scene a day. Great. And just keep going. My question to you, the reason I just wanted to ask you what you'd like to write, and what kind of thing you'd like to write.  We talk about self hypnosis, you know, you said, I'm inspired by poetry, but I'm not a poet. Well, why would you say that?  Like, why would you say that? That's sabotage. Yeah. Yeah, it's unnecessary. You know, it's interference, you know what I mean? So you can say, you can, we can all start more mindfully monitoring what comes out of our mouth. Yes, it comes out of our mouth and what goes in our mouth. And we can just focus on those two things. Yeah, it's going to be a great year. You know, but really, you can, you can listen to yourself and go, okay, so how can I convince, you know, how can I talk to myself in a way that's going to help me accomplish what I want to accomplish? So do you have a time of day when you like to work? Yeah, I get up in the morning. I set my timer. That timer has become my best buddy now. So yeah, the other days, I ignore it, of course, but that's been really helpful, just operationally. And you'd like to, you'd like to write something every day and you should send it out? Did you say that? Yes, well, you know, I've been working on this novel for a couple of years and it's just like, nothing's ever good enough. So I just think I want to break down some of the older scenes, write some new scenes, and then some of them are standalone. Oh, cool. Cool. Well, then you could, do you have a friend you could send it to, you know? Yeah, some of the writing groups, so. That's great. You could, you could write one of those and send it out to your writing group or a friend in your writing group. Right? Yep. It sounds like fun. And again, we're lowering the bar, lower the bar. Yes. Guess what? And if it feels hard still, oh, lower it a little bit more. How low can you go? Right? Yeah, good. I mean, but yeah, I bet you can't go as low as I can. You know what I'm saying? Because what you want to do is you want to lower the bar so low that you can just step over it with ease. And when you step over it, you get your writing done. And that generates confidence and you repeat that action. Right? I feel that hypnosis going on. I think I'm getting that, you know, I can low myself into that. There you go. Good days and bad days, but onward. So thank you. Thank you. Appreciate your question. Thank you. We have about three minutes left.  Would you like to share something with us in our remaining time? Sure. Hey, Richard. Hi. How are you? Great. Just general thing about rewriting. I feel I'm at this point where I start from A, every day I'm writing, I'm rewriting, I continue that. I get to the end. I reread it and some I've changed all this stuff has been changed, not all this stuff, but a lot of it's been rethought. But at the end, there's still something lacking in it. There's some tension that's not happening. So the question is, maybe it's not good to just go from A to D to C to D to A, you know, start from the beginning to the end. So the question is suggestion about how to work on it in a different way. And I know we have a minute, so maybe a little long, take a minute. Here we go. Yes, it's a great thought. It's a great question. So you've gone through it from head to toe, from top to tail, right? It's still too polite. At the end of it, it's just much too polite. There's no... Okay. So do you walk around outside? What do you like to do? Do you get on, like to be on treadmill? What do you do with your body? I like biking. Great. Biking at the gym. Even better because then you can talk to yourself and you won't like run a red light or run over someone with a basket or something. Great. Okay. So you can bike at the gym. So why are you biking? Just ask yourself. These are two things you could know for sure. One, you know what it needs. Two, if you keep asking yourself, sooner or later, you're going to tell yourself. Sooner or later, the answer is going to appear. So you're riding your bike at the gym. Ask yourself, what does it need? Does it need a new scene? Does it need a new line? What does it need? Come on, I know what it needs. Richard, I know what it needs. That's what you say. I know you know what it needs.  Tell me. What does it need? What is it missing? What do I need to put in it? Okay. So you're kind of working on it like whole spirit way. Okay. Try that. Just keep in conversation with it. Come on work. I know... Just tell me what you need. Just tell me what you need. As if you're talking to a good friend, because it is your good friend. And you're like a good friend. If you keep saying, hey friend, what do you need? How can I help you? Sooner or later, they'll be like, they'll tell you. And then you'll know. And then you'll write it down. Try that. Look, and it's six o'clock. Oh, amazing. Look at that. I forgot to turn on the lights in my apartment today. Isn't that funny?  Awesome. Well, thank you all so much. We'll be here same time next week. All right. Thank you. Thanks everybody for showing up. Thanks, Lali for organizing.


Oh there's a small one too. Oh come on. You got me under pressure on this video. There we go. So we're going to work on our visiting nobles, kind of a day in the life of Colorado to make sure you walk with them. And a special shout out to our two big residents, other here with us from from the uh from the uh from the stores in Washington D.C.  Yeah, I got a bunch. Yeah, we did. We did. I don't know. I don't know. They just did a chili dog and some spinach please. Chili dog, too. Yeah. What's the board?


Let us look at say, so let us look at 1 over n raised to power 25 plus something, minus 1 by n divided by n. I am just taking some random kind of thing. Let us look at this sequence. I want to know whether it is convergent or not and what is the limit if it is convergent. I know that 1 over n goes to 0. So, it is 1 over n multiplied by 1 over n. So, that goes to 0 minus 1 to the power n divided by n that goes to 0. So, multiplied 30 times does not matter. This goes to 0 and this also goes to 0. So, this plus this plus this. So, that should go to 0. So, this is the kind of thing you can do. I am just cooking up a example, but we will see later on these are useful terms. So, one more tool which helps. So, let me write 1. So, let me write the example first and then write, let us write the sequence a n to be equal to sin n divided by, so let us write n. So, this is the term of the sequence a n. What can I say about the denominator? If I do not have sin only denominator, then 1 over n that goes to 0. Sin n. So, there is something it does not go somewhere, but it does not go anywhere. It remains between something. So, one writes this as mod of a n is equal to mod of sin n. I do not know what is sin n. I am not interested also. This is less than or equal to 1 over n because sin function is bounded by. So, it is something like saying if I have a sequence a n which is bounded and b n which is convergent, then the product will be convergent. So, essentially it says that this goes to 0. But what is happening is a n is dominated by 1 over n and this is always bigger than or equal to 0. You can think of left hand side as a constant sequence. So, this is a sequence c n where every time is 0. Is the constant sequence convergent? Obviously, because it does not go anywhere. It stays put there. So, for every absolute, all the terms are near. So, everything will work out nicely. No problems. Constant sequence is always convergent to the term which is a constant. So, now this is between two convergent things. So, it is kind of sandwiched between two. So, the sequence which we have a n is sandwiched. We call it as b n, b n and c n and both b n and c n are converging to 0. So, that indicates something more general. So, this limit of course is equal to 0 and that probably says supposing a n is less than or equal to b n is less than or equal to c n for every n. Suppose you have got three sequences a n, b n and c n. I am trying to model on that example now and suppose this and this both of them converge to a limit l. So, convergence means what? b n and c n are going to come closer to c n is going to come closer to l, b n is going to come closer to l. That means b n and c n are both coming closer to each other and poor a n is sandwiched in between. So, it has to come closer to l. So, the theorem should be if, so let me write the theorem. If a n, b n and c n are such that I wrote c n there. So, let me keep that say that c n is less than or equal to a n is less than or equal to b n for every n. I do not need for every n because I am interested only in the convergence. So, we should write for every n bigger than some n naught because l is important. It is not what is the thing actually. It is n naught and b n converges to l, c n converges to l, then a n converges to l. So, this is what is called the sandwich theorem. If something is sandwiched between convergent things, that has to converge. So, shall I write a proof or we will try to write a proof yourself? I have given you the idea. So, here is the idea. So, please write down the proof yourself and here is the idea. a n converging to l, that means given some epsilon, there is a stage after which mod c n minus mod c n minus mod c n minus mod l absolute value is less than. So, the first this one will give me mod of c n minus l less than epsilon and the second one will give me mod of b n minus l less than epsilon. For a given epsilon, there is a stage say that this for every n may be some other stage n 1 does not matter. But if I look at the stage bigger than these two stages, then for that tail this also happens, this also happens. Then what happens to, what can I say about, because that is what I want to analyze. Can I say a n minus l will be less than for that stage onwards, whatever is the bigger one. So, this kind of manipulations one has to do in analysis. That means you have to change your estimates a bit depending on your requirement. So, something happens for one stage, something happens for another stage. If you go beyond that, then both will happen. So, we have got both available to you. So, write down. See, if you like the picture, here is l, here is l minus epsilon, here is l plus epsilon, where is after some stage c n is here, after some stage b n is here. After both the stages, both are inside and where is a n, a n is here.  So, write it in terms of mathematics. So, this is what is called Sandwich theorem. So, in this example that we have done, you can say that this is by Sandwich theorem. So, let us do one more example to illustrate the usefulness of these things. So, let us look at an example. So, let us look at, let us look at a number x between 0 and 1. So, let x be between 0 and 1. Let us look at a n, which is equal to x to the power n. So, question is a n convergent. So, what one will do? As usual, try to inspect the sequence at least first. And this is what George Polier said. There was a mathematician called George Polier if you have not heard the word, go and Google George Polier and he has written a very marvelous book called How to solve it, which is available on the internet free. At least I could get one copy, but it is not very costly. Indian edition is available. So, read it. It says you want to prove something for every x. It says one thing is try to look at particular cases of that problem. Step one, what is the particular case? For example, I can look at x is equal to 1 by 2, 1 by 3, 1 by 5, something like that, less than 1, bigger than 0. And look at what happens to the sequence. It looks like if I take 1 by 2, 1 by 3 or 1 by 4 and go on multiplying them again and again, it seems to be becoming smaller and smaller. So, there is a pattern in the examples that we are saying and that seems to indicate that this should go to 0. So, that is Polier's situation. Look at particular cases that may give you a hint what is true and how to prove it possibly. Or for a particular case, you may get that this is not true. Even then you should be happy because you have solved the problem saying that for a general case, this does not have a solution. You have a counter example. So, even then that is good. So, read that book if and when you find time. So, claim whatever I have said that a n goes to 0, but it is x to the power n. So, I should try to now do something so that I can estimate x to the power n for n large enough, showing it goes to 0. That means I should be able to say x to the power n becomes smaller and smaller as n becomes larger n, but in a conclusive way, not by examples. So, let us look at if so claim. So, let us write a proof of that x is between 0 and 1. Then what can you say about 1 over x? That will be bigger than 1.  It is bigger than 1. So, it will be 1 plus something, some h bigger than or equal to strictly bigger than 0. Now, what I am interested in? I am not interested in x. I am interested in power of x. So, let us raise the power. So, implies 1 over x raised to the power n is 1 plus h raised to the power n. So, the left hand side is 1 over x to the power n is equal to, now that I can expand now using my familiar binomial theorem. So, 1 plus n h plus h raised to the power n. It is 1 over of that required thing. If I make 1 over of x n, which is my required thing less than something, then that will or bigger than something, that will give me an estimate. So, now, if I forget this one and I forget all remaining ones, what will happen? So, this will imply 1 over x n is bigger than n h. Everything is non-negative. I am forgetting non-negative quantities, keeping only one term. That implies x to the power n is less than 1 over n times h for every n. h is fixed. It is a constant constant constant. So, that says, this is bigger than 0. So, implies by Sandwich theorem that x n goes to 0. That says this must go to 0. So, Sandwich theorem is useful in this kind of a thing. But you have to make an estimate, guess, then try to estimate it by something known as a real analysis. So, this is where our analysis comes into picture. That is why we are doing real analysis. Now, here once this is done, can I say something about if x is not positive, but it is x is between minus 1 is less than x, less than 0. Can I use my analysis above to say something about this now? It is a negative quantity, but still less than, absolute value is less than 1. So, at least what you can say is, if this is so, then I can say mod x to the power n goes to or this is same as x to the power n mod. Both are same. So, I have got a sequence whose absolute value is going to 0. Can you say the sequence goes to 0? If you like this itself anyway, it goes to 0, this can be very small. This itself proves. But the question is, if mod a n goes to 0, does it imply a n goes to 0? So, keep it as a question. Think about it. The problem sessions try to analyze this question. If it is not there in the problem sheet, try to analyze this question. You can analyze both ways. If a n goes to 0, does mod a n go to 0? Converse, if mod a n goes to 0, does a n go to 0? You can even improve your question. If a n goes to some L, then does mod a n go to model and is the converse true? So, you can generate your own questions and think and analyze. That is how you progress in solving. So, you can try to analyze another one more question that a n converges to L, if and only if mod a n converges to L. I do not know. So, you have to analyze this. For L equal to 0, I am saying it is true. For L equal to 0, may be it is still true, but you have to analyze that. So, you want to prove, give an argument. If you want to disprove, then you have to give a counter example for anyone. So, there are two way statements, if and only if. So, what we have done is, till now we have looked at convergence of a sequence. We have tried to analyze possible ways it can converge or diverge. It can diverge if it is not coming closer to a value, that is, divergence. It is unbounded or it fluctuates possibly. If convergent, it must be bounded. So, not bounded will imply not convergent. For analyzing convergence of sequences, we have got some tools, algebra of limits, sandwich theorem. Till now, any doubt? So, let us go ahead a bit more. Look at something. Till now we have not analyzed that example, when we said, look at, try to find out the area of the unit circle, that approximations by inscribed n-gones and making the sides bigger and larger and larger. We said, eventually it should give me area of the circle. Till now, we do not have any mathematical tool, which says, yes, you can do something. So, let us try to formalize that. So, let us define what is called an increasing and decreasing sequence, which is obvious. In fact, you may be knowing. So, a sequence a n is called monotonically increasing, if a n increasing. So, next one is bigger than a n plus 1 is bigger than or equal to a n for every n, bigger than or equal to 1. Similarly, you can write decreasing. So, what will be the condition? a n plus 1 is less than or equal to a n, two parallel definitions. Increasing, every next term is bigger than or equal to the previous one, decreasing and so on. So, here is, here, may be I am just saying less than or equal to, bigger than or equal to. If you want to say no, if you do not, I am not happy with this, then you will add the word strictly monotonically increasing or strictly monotonically decreasing. If I do not say that, some terms could be equal. 10th n by 11th may be equal, but then the other ones may be less than possible. So, monotonically increasing means a n plus 1 is bigger than or equal to. Strictly will mean this inequality is strict. That is all. It is clear? There is only one way you can interpret a statement here. It is a mathematical statement. You can say that by this definition, yes, no problem. What is wrong with that? A constant sequence is both monotonically increasing and decreasing. What is wrong with that? If it causes a problem to you in your mind, then you have to clear cow webs in your mind probably. So, here is a theorem I want to prove, which says that if a n is, I will just write m i. Mathematicians have a very bad habit of shortening everything. They do not want to write English at all. So, m i will mean monotonically increasing. If the sequence, then it means and is bounded above, it is convergent. Then it is convergent. So, let us look at a proof of this. Keep in mind, real numbers is a complete ordered field. That means it has the LUV property. So, let us see how will the proof you think will go? If a sequence is monotonically increasing, it could be a constant sequence. It does not go anywhere. Then it is convergent anyway. We are trying to prove a monotonically increasing sequence is convergent. So, let us assume that is not the case. At some stages it may be constant, but then it will be increasing. a n plus 1 will be strictly bigger than a n at some places. But we know it is bounded. It cannot go beyond something. It is bounded above. So, if I try to plot the terms of the sequence on the line, there will be somewhere on the line and there is a barrier. So, essentially what we are saying is here is a line, here is a barrier, say alpha and all the terms a 1, a 2 and a n and they are all on the left side of it and going nearer and nearer. It is as if you are walking to the wall and you are taking a step positively. You are not just standing there. If you keep standing, you will never reach the wall. You must take some step whichever smaller step you want. Then eventually you will reach somewhere. That is a claim. That is what the theorem is saying. Now, what do you think possibly could be the limit of a monotonically increasing sequence if it is bounded? It should be some kind of a largest value of the sequence, but the sequence may not have a largest value. So, there must be something which is the largest. All the terms are smaller, but they do not go beyond it, but they come closer to it. So, in some sense what we are saying is limit possibly is the least upper bound for that sequence. That is our guess. So, let us write claim. So, let alpha be equal to LUB of the sequence, not as a sequence, but sequence as a set. When you are plotting out of the line, you are taking it as a set. So, it is a n, n bigger than or equal to 1. I am looking at that set. This is a set A, if you like. Define the set A to be the image of the sequence you can call it, if you like. At n, a n is a number. That is a real number. So, collect all these real numbers. Put them in a box. Call that as a set A. That set A has. So, this exists because of LUB property. Because it is a bounded set, all the a n's are on the left of something. So, this is a set which is bounded below by, anyway bounded below by 0 or below by a 1 or not. That is not important. It is a set which is bounded above. It is a non-empty set because a 1 is there, a 2 is there. All the terms are there. So, this set A, the image set of the sequence is a non-empty subset of real numbers which is bounded above. So, what should happen? It should have least upper bound. So, let us call that least upper bound as alpha. So, alpha is the least upper bound of that set. Now, we want to claim that a n converges to alpha. So, what I have to show? For every epsilon bigger than 0, there exists some n naught such that, where is a n? Alpha minus a n. That is a non-negative number because alpha is least upper bound. That is same as the mod, is less than epsilon for every n bigger than. That is what I have to show. Is that okay? If you like, this is same as mod of alpha minus a n. Is it clear? So, I am fixing my target now. So, here is the line. Here is a 1, a 2, a n and here is my alpha. And I am given an epsilon. So, that is same as saying alpha minus epsilon is less than a n. That alpha minus a n less than epsilon is same as saying I take a n on the other side and alpha on this side. Is that okay? Yes. Now, here is alpha. So, here is somewhere alpha minus epsilon. Now, can I say that alpha minus epsilon cannot be an upper bound for the sequence? Alpha is given to be an upper bound, least upper bound. If I subtract something from it, that cannot be the least upper bound. Nothing smaller can be. We have already taken the least upper bound as alpha. So, if this is not least upper bound, that means what? There must be term of the sequence on the right side of this, at least one. So, there must be some a n not, which is on the right side of it. Is it okay? But if one a n not crosses over l minus epsilon, all will cross over because it is monotonically increasing. All the remaining ones will be here. That means what? Given epsilon, I have found a n not, say that all the a n's after n not are inside l minus epsilon and l plus epsilon. What does that prove? Given epsilon, I have found a stage n not, say that all the a n's after n not are inside l minus epsilon and l. That precisely says limit has to be equal to l. Proof is over. So, let us write that. This, whatever we have thought about. Since alpha minus epsilon cannot be upper bound, I should write better, cannot be an upper bound for the sequence. There exists n not such that l minus epsilon is less than a n not is less than alpha. What was where is l? There is no l. This is only alpha. Alpha is the one we are looking at. So, alpha minus epsilon. Is it okay? But a n is monotonically increasing implies a n bigger than or equal to a n not for every n bigger than n not. And a n is less than or equal to alpha for every n because alpha is equal to l u b. So, nothing can go beyond l u b anyway. So, what does this to imply? So, imply for every n bigger than n not, a n is between alpha and alpha minus epsilon. Whatever we saw that picture, I am translating that picture now into the mathematical language. That is all. Nothing more. So, that means implies limit a n n going to infinity is equal to alpha. So, that proves. So, what we are saying is every monotonically increasing sequence which is bounded above must converge. So, another tool in our kitty of analyzing sequences, algebra of limits, sandwich theorem and all that and plus one more is there. And correspondingly, you can write the other part. If a sequence is monotonically decreasing, let me write as a corollary a n monotonically decreasing bounded below implies a n convergent. So, increasing to decreasing, you can just go by, if a n is increasing, minus of that sequence will be decreasing because minus reverts the inequalities. Bounded above, negatives will be bounded below. That will converge and now you should use that limit theorems. Negative of a n is converging. So, a n must converge. So, that combined with the earlier one will give you this also. So, what we have shown is the least upper bound property implies every monotonically increasing bounded sequence is convergent. In fact, the converse is also true. I will not prove it. If you take an ordered field in which every monotonically increasing sequence is convergent, then you can prove it should have the least upper bound property. So, that is an equivalent way of describing least upper bound property. We will not do that because this is an elementary course for analysis for you. So, what we are saying is we are taking definition of completeness as LUB property. One, we have shown that LUB property implies convergence of every monoton sequence which is either bounded above or increasing or bounded below if it is decreasing. Now, for example, as a consequence of this, I can define what is pi. Now, I can define what is pi. What is pi? Look at the sequence of increasing sequence of approximate areas, square, octagon. Those I can compute numbers, those I can compute numbers because radius is 1, diagonal of the square is 1, radius is 1.  All are made up of triangles. Those areas, I know the formulas of base into height. I can compute. So, those numbers a n's I can compute. I know they are monotonically increasing. I know they are bounded above because I can have a square circumscribing the circle. So, that must converge and that is my mathematical definition of pi. So, I will call pi as the limit of those areas. So, that is one advantage of going to real line completeness property.


الحمد لله رب العالمين فهو الحمد الحسن والثناء الجميل وأشدوا الله إلا الله أحده لا شريك له يقول الحق وهو يهدي سبيل وأشدوا النسيدنا ونبينا محمد سل الله عليه وعلى آله وأصحابه والتابعين لهم بحسان إلى يوم الدين أما بعد نحن now in the the matkhal of ʿalumul quran the introduction to the signs of quran تلاي إن شاء الله وإتعالى we are going to be speaking about نزول القرآن الكريم how the quran came down we are going to speak about the نزول the descending of the quran the first question the first point that we want to tackle is what was the first portion of the quran that came down as we know the first portion is إقرأ بسم ربك الذي خلق خلق الإنسان من علق إقرأ وربك الأكرم الذي علم بالقلم علم الإنسان ما لم يعلم so what was the first part of the quran that came down إقرأ was the first that came down so the first question is if anybody asks you what was the first thing that came down from the quran what was the first portion of the quran that came down would you say how many verses of إقرأ came down first five of إقرأ came down the first five verses of إقرأ بسم ربك الذي خلق صورة العلق beautiful second question أين نزل where did it come down on where did it come down on the answer is في غاري الحراء it came down on what في غاري في غاري حراء في غاري أشكسار في غاري حراء point number three the third point is في أي ليلة نزل which night did it come down في أي ليلة ليلة night night night what night did it come down so the third point is في أي ليلة any night night any night night night night what night did it come down وفي أي شهر شهر نزل where did it came down ومن ذلك شهر where did it come down before it came down so the first point is أول بانزل our ability the type of descent أول بانزل the first point is صورة أخبار where did it come down في أي ليلة نزل of غاري حراء is it a blessing place to visit when you go to Hajj there's no blessing yeah you see people spend a lot of money going Hajj they put so much money in Hajj and they go there for Hajj and the intent is to do Hajj and so what do they do they go to غاري حراء they fall down break a leg and they end up not doing no Hajj and that's the harm of innovation that the person leaves without Hajj and for something they didn't have to do at all nor did they get any reward for does that make sense and a lot of those people believe they get closer to Allah by going to her غاري حراء that they're going to get reward from it so أين النزل ها oh no I didn't I used the black one again أماء إنسانيه إلا الشيطان وإن أذكره you used the black one قدل الله أين النزل where did it come down on did anyone else remember the marker yeah we're all excited about the lesson yeah أين النزل where did it come down في غاري حراء في أي ليلة النزل which night did it come down it came ليلة القدر we're going to have a detailed discussion regarding this وفي أي شهر النزل and what what month did it come down the Quran where did it come down it came down it came down شهر رمضان oh this part of the board is good this issue goes back to are you allowed to follow the places that the prophets walked and they were are you with me are you allowed to do this Miss Ella which is not definitely a person cannot travel for a particular place are we with you together the process إلا إله تلاه تتي مساجد a person is not allowed to cut a distance because they want to visit a particular what a particular place you're not allowed to the only place that you can travel to visit is where huh مكة مديرة but you're allowed to you are allowed to travel for a concept for example seeking knowledge that's not a place that you're traveling for you're allowed to travel for a business are you with me you can travel for a like to go and visit a place that's the only reason why you're going you're not allowed are we all together brothers this is another discussion another time okay let's go into the issue of نزول the نزول that's used in the Quran is two types the word نزول it's مشتقات مشتقات means it's type whether it's a past tense verb whether it's a present tense verb whether it's a future tense verb whether it's a verb noun it doesn't matter the word نزول whatever form it comes in it's two types does that make sense so whether it comes in a past tense verb present tense verb verbal noun it doesn't matter this term this word نزول it's used in the Quran two the first one is مطلق and the second one is مقيت مطلق means unrestricted are we all together brothers مطلق means unrestricted unrestricted here means that it's not attributed to anyone or anything it's just something came down are we all together and that is the example the second ayah in Surat al-Sajdah and the second ayah in Surat al-Ghafir and the second ayah in Surat al-Rahman and I don't know why it's all the second ayah Surat al-Sajdah the second ayah Surat al-Ghafir the second ayah and Surat al-Rahman the second ayah all of those three sources all of them all of them the second verse if you look at it the word is mentioned and it's not attributed to what sorry sorry this is the مقيت all of these examples I'm giving sorry it's the مقيت I was meant to give the مطلق the مطلق is the one that's mentioned in Surat al-An'am I'm a Surat al-Zumar sorry وَأَنْزَلَ لَكُمْ وَأَنْزَلَ لَكُمْ مِلَنَ عَامِدْ here وَأَنْزَلَ was sent down for you for who did it send down where was it sent down from where it's not mentioned it's unrestricted are we all together brothers pay attention here the word أنزلا is used and it's unrestrictedly used meaning it's not restricted to a place or a direction does that make sense but this one is an example for this one is this one is Surat al-Zumar I'm sorry the example for the مطلق is Surat al-Zumar ayah 6 okay ayah 6 does that make sense وَأَنْزَلَ لَكُمْ مِلَنَ عَامِدْ عَامِدْ عَامِدْ here Allah mentions وَأَنْزَلَ was sent لَكُمْ for you what direction did it come from where was it sent down from who sent it down it wasn't mentioned here okay does that make sense لكن this one which is the مقيت the مقيت it's mentioned let's look at how it's mentioned Allah says let's look at Surat al-Rahman I love you you know Surat al-Rahman let's look at the one in Surat Surat al-Ghafir Allah says تنزيل تنزيل الكتابي من تنزيل تنزيل الكتابي من رب العالم see who is it restricted who is it mentioned from a direction so the word is mentioned and it's attributed to who Allah so it's restricted to Allah that's the first type it's restricted to Allah the second is it's restricted to the sky السماء it's restricted to the سماء as Allah says وأنزل لكم وأنزل من السماء الله says وأنزل من السماء so again وأنزل من السماء وأنزل من السماء سورة سورة البقرة pay attention now وأنزل here has been mentioned for what the sky or Allah so the word when it's mentioned in the Quran it's mentioned in two ways the first one is مطلق it's not been attributed to anyone or a direction does that make sense that's this one the example is the second one is it's mentioned from a direction and a place that it came from and it's only two الله and السماء if you see the سماء it's two meanings it's either عذاب إن ننزل عليكم من السماء and the second one is a risk provision which is the one in سورة البقرة والله تبارك وتعالى وانزل من السماء فأخرج بي من اهتامرات رسق لكم ويوتج ده so when the سماء one is mentioned it's either عذاب that was sent from the سماء or it was what a risk because the rain when it comes down what does it do brothers the rain can be a risk a provision for you true or false it can also be عذاب الله destroyed the people of نح on the rain so not every rain that comes down what did Allah say in the ayah فلما رأوه عارضا مستقب لأودية قالوا هذا عارض ممطرنا بل هو ما استعجلتم بي ريح فيها عذاب أليم تدمر كل شيء بأمر ربها فأصبح لا يرى إلا مساكهم كذلك انجز القوم المسأل الله mentioned to us the people of عاد they saw the sky الله says فلما رأوه عارضا مستقب لأودية قالوا هذا عارض ممطرنا that wow this rain this cloud is coming together can bring us rain good tea and then Allah says no this is a rain that I'm going to send to destroy them وليداليك يقول that when the rain the clouds would come together and it would look like it's about to rain the messenger صلى الله عليه وسلم كان يخرج ويدخل he used to leave the house and he used to come in very nervous and he used to mean that this is a form of punishment that the rain can be a form of punishment so let me repeat this one more time the word نزول has been used in the Quran in two ways the word نزول has been used in the Quran in how many ways two this one is the first which is unrestricted why did we say it's unrestricted because it's not being attributed to anyone so it can be anything it's open does that make sense the second type is restricted this نزول this descending has been restricted okay what is it being restricted to one of two either Allah or the Samaa does that make sense when it's restricted to the Samaa it's either a risk that it's referring to or a عذاب does that make sense okay for example I gave the example for what وأنزل من السماء سورة البقرة the ayah 22 that's a risk وربع عذاب when Allah mentions the adab Allah mentions سورة الشعراء الله says إن شأن نزل عليهم من السماء آية فضلت عناقم لها خابعين so here من السماء الله says we have sent down from the sky a sign meaning rain we sent from it what did we send things that made their necks humble itself we punished them Allah is trying to say so whenever you see descending from the sky in the Quran it's either a punishment that is being referred to here or a what of risk and provision that's one the second one is if it comes from Allah and it's been mentioned وأنزل من رب العالمين من ربكم if you see that what does it mean the Quran if it's restricted to Allah it means what it means the Quran is being sent from Allah does that make sense that's the second type of مقيد the مطلق on the other hand is just open whenever you see in the Quran نزل أما ينزل أما نزول أما أنزل which it's not mean mention who has it been then this is just the open one does that make sense it can be just look for if the word من is mentioned after it when we say نعم the one that has been attributed to here is مستة الوجوبان it has to be hidden we're talking about that which we can see are we all together are we all together brothers we're talking about that which we can see now even if it's you know it's all from Allah everything is from Allah even this one that's been attributed to the سماء is from who is it from the سماء is it from Allah it's actually we can put it in the first part it's all from Allah does that make sense this one is from سورة to سورة to سجل now I'm going to move on to محالة the type of coming down the type of descending brothers if you don't maybe understand a point that I've said it didn't go in you didn't understand it and you feel like everybody else has then you can always go to the recording and watch it 3-4 times and go over it again and go over it again I want you to always remember don't ever expect to understand the lesson the way that the teacher understands it the reason is because it's not the first time for me are we all together brothers so repetition and continuously going over it again and again and again and again I promise you I promise you you will definitely realize the difference like in the reality of some is that if they don't understand it straight away they look around and they say maybe this class wasn't for me I will together brothers so don't be a person who gives up as soon as they see something they're not used to have the strength in you to carry on because everyone around you who's trying hard some Allah I don't know and go home and revise and go over their notes and come in maybe that's what you need to do so don't give up Insha'Allah it's all recorded it's online go take notes down you don't understand it come to the class and always ask questions and we'll discuss it insha'Allah repetition don't give up giving up is not the sign of a strong person is it don't give up and the types of descending okay the Quran has two types okay the first one is which is منجمن اما نزوله جمله one time that's the first one it all came down one time from Allah from the لوح المحفظ and it came to the world that's the school نزوله جمله one time it came down from لوح المحفظ and where did it come down to سماء الدنيا okay we'll discuss what that means the second one is نزوله منجمن it came down what bit by bit and the منجم it's bit by bit from the سماء الدنيا to the messenger صلى الله عليه وسلم so this one is what from where اللوح المحفظ to where that's the first one and this is from what السماء الدنيا to who and maybe صلى الله عليه وسلم so this one is what اللوح المحفظ that's one time and then it came down نزوله منجمن from where السماء الدنيا to what to the messenger صلى الله عليه وسلم أهل السنة more like the self okay they had two views regarding this one view is attributed to who okay I'm going to come to what that view is and there's another goal which is the goal of is عمر بنشالحبيل عمر بنشالحبيل is on one side and the second is the goal of the who قول ابن عباس what is the goal of ابن عباس ابن عباس's view what is it ابن عباس's view is what we just mentioned this view is the view of ابن عباس and it's the goal of the what جماهير أهل العن this is the majority this is the what the majority of the scholars this is the view they've taken which is it came down from لوح المحفوظ and then it came to سماء الدنيا and then from the سماء الدنيا it came down مفرقا مفرقا means bit by bit but when it came from the لوح المحفوظ all once this is the view of ابن عباس and the view of the majority of scholars repeat that again this that we just mentioned here which is لوح المحفوظ سماء الدنيا one time this is one the whole Quran the entire Quran are we all together إن أنزلناه we send him the Quran in his totality في ليلة القدر that's what he's talking about here all of it one time then وقرآن فرقناه لتقرأه على الناس ونزلناه تنزيلة السماء الدنيا to the Prophet ﷺ مفرقا ببقى ببقى now this is the view of ابن عباس and the view of the overwhelming majority of the مفصيرين قول ابن جرير طبري قول البغوي قول ابن كثير قول ابن أبي حاتم قول الشيخ الإسلام تيميا قول ابن القي من أذز وهلوم مجرأة this is the call of the جماهير وأهل العلم الأهل التفسير أنفق عامر ابن شرح بيل عامر ابن شرح بيل الشعبي والتبعي he believed that القرآن all of it came down منجمن from Allah straight like that there's no الأهل المحفوض الى السماء الدنيا هولتك ده this portion for him doesn't exist all it is نزوره منجمن from Allah هكذا شعبي does that make sense there's no الأهل المحفوض الى السماء الدنيا he believes we sent the Quran في ريلة القدر he means he started it that night but not me he sent all of it that night ابن عباس he said the whole Quran was sent down شعبي said no no the starting of the Quran the Quran Allah started sending it that night we went together and it just started to roll منجمن from Allah like that that's the call of شعبي and this call we said it's what مرجوح call what call which is مرجوح we'll take the call of ابن عباس we'll take the call of جماهي أهل العلم does that make sense now let's go into why did the Quran come down منجمن no so this one from from the سماء الدنيا to the to the Prophet ﷺ why did the Quran come down منجمن bit by bit today we're going to conclude when we mention it the first reason the first reason why the Quran came down منجمن what's the reason it's قلب النبي ﷺ قلب النبي ﷺ to solidify and encourage the heart of the messenger ﷺ and that's Allah directly saying وقال الذين كفروا what did the disbelievers say لو لا نزل عليه if only this Quran was sent down on him one time الله says we sent down the Quran in this portion so Muhammad we can strengthen your heart support you mentally regarding the Dawah that you're going to stand to do and this is Allah's statement in which he mentions in سورة سورة الفرقان آية 22 so this is سورة سورة الفرقان آية آية 22 الله mentions an example for that the messenger ﷺ on one day the revelation did come to him for three or four days and then أبو لحب's wife she went by the messenger صلى الله عليه وسلم she said ما أراكة I don't see you except that your lord الله عز وجل إلا قد قلاكة الله تبارك وتعالى he hated you now that's why revelation is coming down on you you're there just God doesn't have no love for you so this الله تبارك وتعالى wants to give the process تثبيت so what came down والضحة واللي إذا سجا ما ودعك ربك وما قلا الله hasn't forsaken you سبحانه وتعالى are we all together so when incidents happened and they would say things الله will respond for him صلى الله عليه وسلم and this will strengthen his heart عليه صلى الله عليه وسلم number two the second reason the second the second reason is مسايرات الأحداث مسايراته مسايراته الأحداث عليه وسلم will go through events and he would need directions and ways to deal with these situations so مسايرات الأحداث means response and rulings for particular events that were taking place in the Prophet صلى الله عليه وسلم's life for example when خولة بنت ثعالبة خولة بنت ثعالبة حزبا أوص ابنصامت خولة خولة بنت ثعالبة حزبا أوص ابنصامت he said to her أنت عليك ظهر أمي you are like the back of my mother to me he said that statement after he said that to her after a while he came back home he was angry لأن النبي صلى الله عليه وسلم يساته هل يريد أن يقوله مصايرة الأحداث هذا الأفن يحتاج أي آنصة فقال الله تعالى قاد سمع الله قول التي تجاديلك في زوجها وتشتكي إلى الله قول الله يسمع وتحاوره صورة المجادة لك أعيش أسرع أعيش أسرع أعيش أسرع قال لك لين كانت مجلسة كتبه ونحنها أصبتها مخضر وكلها جاهلت أزراقية ونحنها أخذهاGenيااااااااااااا أعيش أعيش أخذها في المنزل أنا في المنزل والله، لم أأكد ما letztها متحدث ومعنى الله restaurant قاد سمع الله قول التي تجاديلك في زوجها فقط يجب عليك أن تذهب للمساعدة سبحانه وتعالى هذا الأمر يظهر بأن المسلمة صلى الله عليه وسلم كيف تحديد كيف تحديد معه مصايرة الحدث أخر أشياء كان ماذا؟ أخر أشياء كان باتل أفضل باتل أفضل أفضل ماذا فعلوا الصحابة؟ يجبون الله تعالى قد يجب عليهم فتاة وَلَقَدَنَ صَرَكُمُ اللَّهُ بِبَدْدِرِنُ وَأَنْتُمْ وَأَمْتُمْ وَأَنْتُمْ أَذِلَّهُ فالفتاة في فتاة يُتسجل 70 فتاة ومثلت 70 فتاة لذا عندما يذهب إلى مدينة لا يعرف ما يفعل مع فتاة ومثلت فتاة من المتحدة لا يعرف ما يفعل مع فتاة فاللواته تعالى يرد منه لكياته مصايرة الحدث ومصايرة الحدث ماذا يفعل؟ مصايرة الحدث الله يسأل يسألونك علي أنفالي قولوا أنفالوا لله والرسولة وعلموا أنما غنيمتوا من شيء فأن لله يخموس هو للرسول وليد القربة وليتامك هذا هو how he spread the غنيمة مصايرة الحدث هذا هو how you do it ما about the captives that you have الله يسأل سبحانه وتعالى ما كان للنبي أن يكون له أسرى حتى يتخينه في الأرض أن يكون لديه 70 أسرى يجب أن يتخيلهم جميعا فالرسول لبعضهم يأتي منك مصايرة الحدث الشريعة كامل يجب أن يكون لديهم أسرى نحن نحن نحن أسرى كل حالة التي تأتي منها الله يجب أن يكون لديهم سبحانه وتعالى يجب أن يتحدث with it يجب أن يتحدث with it ويجب أن يكون لديهم خمر الله تبارك وتعالى الثالثة ends is in the third wisdom in the Quran coming down gradually is التدرج في تربية الأمة gradually bring in the rulings gradually bring in the rulings the rulings they didn't come one time gradually this helps when it's تدرج are we all together brothers that hoekm bit by bit and an example for that is the stool of the kamar the first ayah that came down for the kamar was what? يسألونك عن الخمري والميسر يقول فيه ما إثم كبير ومنافع للناس وإثمه ما أكبر من نفعهما ومن ذلك المعارض لم يكن كبير المعارض كانوا كبير ولكن كما كان الكامبن who went and he prayed and he read قلياء الكافيرون and he forgot but he didn't say لا أعبود ما تعبدون he said أعبود ما تعبدون he said لا أعبود ما تعبدون he took out the nefhi the negation which goes directly opposite to the meaning then the ayah came down يأتي الذين أأمروا لا تقربوا الصلاة وانتم سكارا حتى تعلموا ما تقولونه but that still doesn't prohibit the khamar it just means that when they are praying they don't have khamar but any other time they can have it if they want to then the third verse came down which is إنما الخمر والميسر والأنصاب والأزلام ريچ سوم من أعمري الشيطاني فجتني بوه now فجتني بوه stay away from it that's the definite answer so the way that the Prophet nurtured was what هكذا so if you look at Makkah pay attention how many years was the Prophet ﷺ in Makkah for 13 years in Makkah right in Makkah only two things of the Prophet ﷺ were focusing on what was it تحيد and what and the other ruling that came down was what صلاة they were drinking khamar are you with me brothers that all the ruling didn't change it's still carrying on and this brothers shows us something very powerful والله this shows us something very powerful which is if a person is giving دعوة and they are calling the people to the Deen of Allah عزوة جلال what is it that they need to start with social problems financial issues that the Muslims are going through anxiety and depression that the Ummah are going through all of these are problems yes it has to be spoken about it has to be dealt with and it has to be discussed but is that the first thing you discuss the Ummah pay attention Makkah had in it social problems just like we had social problems the community were suffering from different problems they had نبي الله محمد did not address any of that and what did he start with he said to them لا إله إلا الله تفلعو say لا إله إلا الله والله you are going to find success when you are giving دعوة and you are calling the people to the Deen of Allah this has to be something very clear in your دعوة that you are known توحيد أيها القوم لا إله إلا الله توحيد it's meaning why because the companions who when the khamar was told to them pour it break the glass the relation between them and Allah was so strong that when that ruling came they submitted they what they submitted brothers والله this is something this is a حقيقة and a reality that when you solidify people upon that توحيد in the correct way and remember when I say توحيد brothers وعقيدة what do I mean اعتقاد وعملن not just a theoretically believe وملايك لتو كتب الرسول وليه وملاخورة وملاخورة هكذا I don't know it means عملي as well actually then فرق when the person said say لا إله إلا الله how do you know you mean لا إله إلا الله how do we know how you pray the Salah the Salah is the application وع الá لها إلا الله how is it you take your forehead and you put on the ground humiliating yourself for who humbling yourself for who الله أعزبه إذن التوحيد ويصبح أسلمه كان ذلك تعرفه هل أنت لا تعرف جميع المقاومة لدينا مختلفة هل المقاومة تغيير المقاومة للمقاومة نعم نعرف ذلك عباداتنا لكن كل مقاومة من نبي الله حتى الآن كل شيء they all had in common no difference Mr. أحيد never did a prophet come and say there's more than one God are you with me brothers? one thing they will always so what does that show you? it shows you that the most important thing to Allah is the most important thing that was the most important thing so that's what we do when you're nurturing a people you're cultivating a people ترحيد أنا عقيدة التدرج means gradually nurturing the people التدرج means gradually تربية means to nurture my time has finished I didn't finish what I wanted to say for today إن شاء الله تعالى some points still stands but we'll carry on إن شاء الله تعالى next lesson anything which I have said that was wrong incorrect fault mistake era is from me and Shaytan are free from it does anyone have any questions? نعم so beautiful where can I come to that? the issue pertaining to the abrogated how does it happen when did it happen or after that what is actually abrogated how is it abrogated we'll talk about that great details so the brothers asking ليلة القدر when the Quran came down is it the نزوله جملة or is it نزوله ملجمان that's the question نعم ليلة القدر is this one ليلة القدر is when it came down from the ليلة القدر is when it came down from the ليلة القدر is when it came down from the ليلة القدر from that night onwards ليلة القدر are you with me is when it started bit by bit after ليلة القدر it came down from the world نعم أمانا it was sent down to him so yeah so ليلة القدر it came down on the Prophet in the world all of it and the Prophet ﷺ received إقرأ بسم ربك اللي دي خلق here's a question now did the messenger did you breathe here from when it came down from the world when did you breathe here from the Prophet ﷺ we heard you breathe here from Allah right that's your homework for next week إن شاء الله that's your homework you have to research I can't spoon feed you everything نعم any other question نعم like he said that the he understood the ayah like that to be honest even when you look at his call he has two views one view is the call of Ibn Abbas and one is the view like in the view of Ibn Abbas is not his famous statement in other words sometimes a person he said this and this but one of the views are always famous that is known this one seems strange so scholars they reject the one that Ibn Abbas view that he held they say he actually has his own opinion on this issue but it's based on the understanding of the verse فضل straight away so شعبي believes no no no according to Imam Al-Shaabi he believes that the Quran one time came from Allah in small pieces there's none of this and then from that's the call of Ibn Abbas the call of Shaabi direct I mean all of them are saying it directly from Allah but one group they say from Allah to from سماء الدنيا to the نبلاي محمد there's two opinions there's two opinion brothers no no no not at all it's not a deviant group it's weak ha that's one of the مرجحات one of the reasons why we give strength to Ibn Abbas because it's Shaabi, Jalil but if anybody takes the other opinion it's weak you can say it wrong but the person is not deviant for taking it no he's self that's one of the reasons why we said that the call of Ibn Abbas is stronger but that does remember we said three generation three would you call it noble generation so if a person takes the call of Shaabi we will respect it in the sense you're with the self in his view but we'll say that's the most that we can say it's a weak view it goes against Ibn Abbas and it goes against the majority and it goes against the ظاهر of the مصوص because the Quran you can see it doesn't say it says we sent it the whole Quran does that make sense so what's the classification of the word مطلق and مقايد مطلق is meant by is unrestricted of using those terms it's just how the I is used it's just to make it easy for the person to understand but it doesn't mean that there's an I there's evidence for it it's just a way to bring the understanding closer to you if that makes sense any other questions فضلش there's an application of تفصيل نعم أصول الفقز ووه so مطلق مقايد is used in terms of معنى here we're using in terms of the لفظ not the معنى does that make sense إن شاء الله تعالى may Allah honor you all for coming