A dazzling mosaic of tongues, the Adi Granth weaves together a linguistic tapestry that reflects the vibrant cultural crossroads of 15th–17th-century India. At its heart sits Punjabi in the Gurmukhi script—primarily the Majha dialect—where the core hymns of Guru Nanak and his successors resonate. Yet the text reaches further, gathering verses in:

• Braj Bhasha: The sweet, devotional dialect beloved by medieval poets, lending a lyrical quality to many bardic compositions.
• Sadhukari (Sant Bhasha): A fluid, colloquial blend used by wandering saints, rich in everyday imagery and spiritual warmth.
• Avadhi and Apabhramsa: Northern-Indian vernaculars weaving regional color into psalms by Kabir, Namdev and others.
• Persian and Farsi borrowings: Not whole poems in Persian but a sprinkling of courtly expressions and mystical terms that nod to Mughal cultural influence.
• Sanskrit shlokas: Sprinkled throughout for doctrinal emphasis—an elegant nod to the subcontinent’s ancient religious scholarship.
• Rajasthani and Sindhi strains: Occasional verses by lesser-known bhagats carry local inflections, hinting at deserts, river plains and mountain trails.

This multilingual approach ensured the Granth’s teachings reached every hamlet and bazaar, much like a modern playlist that skips effortlessly from Punjabi folk to Brahminical chant. Around the world today, its verses continue to find fresh audiences—often surfacing on social media alongside pop-culture references or live-streamed kirtans. The blending of dialects and registers makes the scripture feel surprisingly contemporary, proof that a message of unity can broadcast through any channel, transcending borders and time.