The Risālat al-Laduniyya is a short treatise giving an account of al-Ghazālī's religious philosophy, in a compact form. It includes his theory of Knowledge, which is discussed very fully in regard to its nature, its different types, and the means by which it is acquired. The author gives special attention here to Revealed Knowledge and distinguishes between Revelation (), which was limited to the prophets and ceased with them, and Inspiration (), which is granted also to the saints and is, in fact, the awakening of the individual, human soul, by Universal Soul.

From 1600 until 1833 the East India Company held a monopoly of all British trade with China. Private individuals, licensed by the Company to reside and trade in India, were permitted to carry on the so-called “Country” trade between India and China, and the commanders and officers of the Company's ships were permitted to carry on “Private” trade in minor articles and to a limited extent in tea and raw silk directly between England and China. With these exceptions British trade was a closed monopoly, but despite this favourable situation the Company found much to complain of because the Chinese had their own ideas of monopoly and of how foreign trade should be carried on.

The notices of Ibn Salama are short. Al-Nawawī (d. 1277) and Ibn Khallikān (d. 1282) make reference to him only in the biography of his son, Abū '1-Ṭaiyib, who died in 920.

Ibn Salama was a grammarian of the Kūfan school. He studied under his father, Salama ibn 'Āṣim, a friend of Al-Farrā' (d. 822) and teacher of Tha'lab (d. 904); but Yāqūt says that he departed from his father's views. The Fihrist, followed by Ibn Khallikān, says that he met Ibn al-A'rābi (d. 846) and other learned men. Yāqūt says that he studied under Ibn al-A'rābī, Tha'lab, Ibn al-Sikkīt (d. 860), and others.

The history of the interpretation of the Song of Songs is a fascinating, if inconclusive, study in the ingenuity of the interpreters. Bach has but to bring to the Song what he desires to find in it, and behold! it lies plain before him. And hence the pages of the commentaries are strewn with the strange extravagances that have been imported to becloud its apparent meaning. The older allegorical theory has fallen into disrepute because it is recognized that it built on subjective fancies; the dramatic theories have also lost the favour they enjoyed in the nineteenth century because it is recognized that the edifying plots they displayed were merely the creations of their discoverers; the wedding-cycle theory has lost something of the impetus Budde gave it because, while its point of departure was not an editor's fancy but an actual modern practice, it has to be forced upon the Song across a great gulf of centuries rather than found there.