वो तो मेरे हुए मगर दुनिया मेरी हुई नहीं

Composed by S. N. Tripathi for the Ramayani score. The recording is not accessible and no period description of the arrangement has been located, so its melodic and instrumental character is left undescribed rather than guessed at.

The title turns on a single adversative — magar, 'but' — and everything the line means sits in that hinge. The first half grants the lover's fulfilment; the second withdraws the world's consent. This is the classic architecture of the socially thwarted romance in Hindi-Urdu film verse: the private union is achieved and immediately shown to be insufficient, because zamana, the world, is the real antagonist. Bekal's construction is plainer than the Urdu ghazal idiom would be, which places it closer to the social-drama register. Only the title is quoted; the lyric is withheld.

Ramayani (1945) was directed by Sarvottam Badami for Purnima Productions, with S. N. Tripathi composing to Bekal's lyrics and the songs issued on Columbia Records. The cast was headed by Pahari Sanyal, Nargis, Chandra Mohan and Rose Musleah, with Moni Chatterjee, Kanhaiyalal, Prabha and Amirbai Karnataki. The Encyclopedia of Indian Cinema records the film, and Heidi Pauwels places it among the Ramayana adaptations that followed Vijay Bhatt's Ram Rajya (1943). No plot summary survives in any accessible source, so the scene this song belongs to is unknown and is not invented here.

This title is one of the strongest pieces of internal evidence for the unresolved question of what kind of film Ramayani actually was: it reads as social melodrama, not as devotional or mythological writing, which sits awkwardly against the Ramayana framing given in the film's Wikipedia article and comfortably with the 'Social' genre tag in the 1945 filmography.