© 2020 JETIR October 2020, Volume 7, Issue 10 www.jetir.org (ISSN-2349-5162) Fact and Fiction in Sea Trilogy: A Study -Rabindra Kumar Sahu Research Scholar P.G Dept. Of English L.N Mithila University, Darbhanga (Bihar) Abstract Amitav Ghosh has utilized for his Ibis trilogy originates from the British Library and the National Archives at Kew in England. A few different publications from the nineteenth century identified with India-China interactions, the Circumstance in Guangzhou and Opium trade and war are likewise accessible on the Internet. Ghosh likewise went by India and China to experience a large number of the spots specified in the trilogy. He has splendidly and seamlessly coordinated these records and discoveriess into his narrative. The Ibis trilogy has shockingly exact portrayals of events. On the off chance that nearly examined, it may turn out that a portion of the characters and their experience are likewise in light of historical personalities. Flood of Fire specifically is a work that could be utilized as a part of colleges and universities to make an interest in concentrate the historical connection amongst India and China. It can likewise fill in as motivational for the individuals who need to investigate a Standout amongst the most considerable period in the history of India-China relations. Key Words:- Archives, trilogy, Canton, Subaltern, Individuals, Ecological, Panorama, Colonial Introduction Amitav Ghosh has Shared obscure facts about the roots of trade amongst India, China and the Paris Community. The Parsi community was at the bleeding edge of all significant trade activities in India amid the eighteenth and nineteenth centuries However, what many people do not know is that Parsis alongside a few Indian, European and American traders were like arns present in the Chinese region of Canton in its trading colonies amid that period, presently rechristened as Guangzhou, the previous River Town of Canton was huge hub of the Opium trades in China amid the 19th century. Amid this period, trade relations amongst India and China were at its pinnacle when the East India Company delivered Opium India and sent out it to China in large quantities. Numerous American and European trade influenced their fortunes in the Opium trade in the Canton territory of China. Ghosh’s Ibis trilogy is situated in the city of Canton in 19th century and rotates around the opium trade occurring in the region and the ensuing trade wars between the different Chinese and European factions possess the River town. Discussion The book features members of his community and other characters from the first, second and third parts of the trilogy, Sea of Poppies, River of Smoke and Flood of Fire. Ghosh depicted his story as about connection of people through memories, which are in turn of a history of mutual destruction. An affective aspect connecting Ghosh’s novels are the real events and characters which through fictional contexts. He endeavours to speak for the subaltern, the JETIR2010194 Journal of Emerging Technologies and Innovative Research (JETIR) www.jetir.org 1512 © 2020 JETIR October 2020, Volume 7, Issue 10 www.jetir.org (ISSN-2349-5162) unheard and especially the individual who has left virtually no residue in historical records. It’s a challenge to talk about these people because it often means written about group and it is hard to make the reader grasp multiple voices instead of only those of a couple of central characters. Youthful British children were taken care of by Indian ayahs often talked more Hindi than English in their early years; for example, Rudyard Kipling apparently did not speak English until the age of six. In fact, a considerable measure of Asian and African words that were removed from Webster and Oxford English dictionaries when they were standardized have lived on in English as slang. Ghosh portrayed how he jumps at the chance to annoy his children when they call him ‘dude’ by asking them, “why are you using this 18th Century African word? When talking about the inspiration for his books and how they are influenced by his own particular experience, Ghosh portrayed his books as being about departures. The trilogy started with the central character Deeti’s departure in the Sea of Poppies and Flood of Fire deals with the departures of Indian officers to fight for Britain in China (among others). Ghosh’s own like has been characterized by the departures. He depicted his family as originally hailing from Bangladesh. Many years ago, he went to his ancestral village with his father, just to find it submerged because a river had changed its course. He depicted his family as one of the principal ‘ecological refugees’, compelled to leave and prevented by the elements from returning. Ghosh admitted his background and his revisitation of his own heritage have unequivocally influenced his writing. On being asked how he fleshes out his characters, Ghosh said he initially tries to get a clear idea ‘who and how’ his characters are. In bringing his troupe of characters from various corners of the world Amitav Ghosh furnishes his peruses with different hues and shades of stories. The sweep of his his forical adventure spans from the lush Poppy field by the waterway Ganges, the moving high Sea to the exotic backstreets of China at the season of Opium war. In any case it is this panorama of characters which exemplifies the vexed colonial history of the East itself, which makes the novel amazingly alive and a masterpiece from one of the world’s finest novelists. Like Amitav Ghosh’s other novels this one is additionally been separated into three parts. “Land, River and Sea and inside these fundamental parts there are sub- sections which give the novel a special fragmentation and give the pursuers an appropriate understanding of the narrative. The story starts from the town of eastern Bihar in which Deeti, one of the main protagonists, lives on the outskirts of the town of Ghazipur, somewhere in the range of fifty miles east of Benares” The novel has a rich tapestry of characters from different cultural and land utilized by foreigners to trade with nearby Chinese traders, a year prior to the first Opium war. The novel visualizes to epic dimensions, both historical and nonexistent characters from the nineteenth century past. It is common place of Ghosh’s novel as far as its broadness of extension which endeavors to include a total social and scholarly reality. In River of Smoke the storm symbolism is fundamental to the narrative, it spares the condemned detainees of the Ibis vessel which is as of new highlighted in Ghosh’s earlier novel Sea of Poppies yet rains approximately three hundred chests Opium conveyed by another ship, Bahram Modi’s Anahita it influence Deeti to see that even ‘a tufaan could have an eye’ while the convict and escape Zamindar Neel Kanta Halder realizes the viability of the description of the storm in a science journal he read in 1838: ‘A gigantic oculus, at the far end of a great Spinning telescope, examining, everything it passed over, upending something, and leaving other unscathed; looking for new possibilities, creating fresh twenty-eight beginning, rewriting define and throwing together people who would never have ‘met’ (SOP-20) JETIR2010194 Journal of Emerging Technologies and Innovative Research (JETIR) www.jetir.org 1513 © 2020 JETIR October 2020, Volume 7, Issue 10 www.jetir.org (ISSN-2349-5162) This novel is connected to primary more regarding theme than character. A few characters like Deeti, Neel and Paulette do figure in River of Smoke their points of view adding to the multiplicity of perspectives. And however the issue handled is touchy, the creator is restrained in his way with the goal that the novel does not pass any judgements on the Opium trade and is quite recently substance to present things as they are the readers is presented with a historical scene from which he can reach his own particular determinations.: ‘textured in the heap Shades of adoratio, sentiment, adventure, revelation, fiction and history, River of Smoke is a monstrously improving read’. This constitutes a fruitful narratorial ploy to obscure the limits amongst fiction and history so historical so fiction accomplishes the capability of an option historiography that the creator wishes to depict inside his fictional creation. Be that as it may a note of alert is relevant here as the creator’s fictional matrix may be effective in its critique while less so in the option possibility it presents. Antoinette Burton, in a talk of the primary novel of the Ibis set of three, says: Ghosh’s routine with regards to fiction as the written work of “world history from beneath” an epithet which can be reached out to the second book of the set of three River of Smoke too. Immense tracts of arable land in regions under British control Bengal, Bihar and Malwa were help hostage to Opium cultivation implement By the British and their Indian associates the zamindars and the traders. Combined with the effect of the permanent settlement Act of 1793 and drought, several farmers and share-croppers were forced to become girmitiyas in sugar plantations in the Indian ocean and the Caribbean again controlled by the British. Discussing this mobility, Lomarsh Roopnarine argues it was not the oft-cited and apparently objective economic causalities Such as “push and pull” market factors that were solely responsible for such migration such a view suggest that this mobility was extrinsic to British colonial rule. Countering such a view, he writes; ‘India as a dispatching colony experienced uneven development because of British Colonialism. Foreign Penetration and imperialism disintegrated and dissolved the traditional economics and social structure in the country side, rendering massive population available for recruitment.’ This revisionary comprehensive of economic history is plainly portrayed in River of Smoke all through the narrative- read nearly, the novel arraigns any form of these occasions that tries to sidestep the systemic culpability of colonialism and supreme budgetary streams which prompted these courses of migration to be set up in any case –In such manner, the narrative effectively assumes the part of basic historiography.