Tilang is the section where the Granth's composite language is most visible. The measure itself carries a West Asian colouring, and the hymns gathered under it work in a vocabulary heavy with Persian and Arabic words, addressing God in terms that a Muslim listener of the sixteenth century would have recognised without translation.
The Granth's register is composite throughout. Its base is the Punjabi of its time, its script is Gurmukhi, and running through it are Braj Bhasha, Sanskritic vocabulary, the language of the Nath yogis, western Punjabi forms and, in places like this section, a substantial Persianate layer. Scholars call the whole a devotional lingua franca of northern India rather than a single language, and reading the volume requires access to several registers at once.
In Tilang the register is doing work. A composition that addresses God with the words a Muslim audience uses is not translating a Sikh idea into Persian; it is speaking in the idiom in which the audience already prays, and the compositions in this section are among the most cited in discussions of how the Gurus engaged with Islam.
The atlas does not summarise that discussion here, because it is a live scholarly and inter-religious argument in which the sources disagree about emphasis rather than about facts. What the section demonstrates plainly is that the vocabulary was available, was used, and was not marked as foreign.