In Maharaja Ranjit Singh, he dramatized the reign till the annexation of Kasur. Occurrences and their agents figure as recorded in historical documents. Since he organized the play as a chronicle with many scenes, he amply employed coincidences to forge them together. But several scenes of village and domestic life contribute hardly anything to the plot, at the most providing relief from the schematic exchanges of historical figures. The five-act sequel in 1928 extended the dramatization to the campaign in Kangra and retained the same compositional principle. However, instead of advancing the story of the conquest, the incidents reflected the monarch's qualities.
In Dido Jamwal in 1934, the author finally aspired for literary unity. This time the subject related to the invasion of Jammu, which happened to be his native region. The imperialistic army meets with heroic resistance from a local vagabond eulogized by the people as their popular saviour, and who gives his name to the play. As a result, Dido Jamwalhas a dramatic momentum that leaves no time for comic relief or vicarious pleasure. It was the acme of Kirpa Sagar's career. Kirpa Sagar died in 1939.
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