Bizerta occupies the site of the ancient Tyrian colony, Hippo Zarytus or Diarrhytus, the harbour of which, by means of a spacious pier, protecting it from the north-east wind, was rendered one of the safest and finest on this coast. The town became a Roman colony, and was conquered by the Arabs in the 7th century. The place thereafter was subject either to the rulers of Tunis or of Constantine, but the citizens were noted for their frequent revolts. They threw in their lot (c. 1530) with the pirate Khair-ed-Din, and subsequently received a Turkish garrison. Bizerta was captured by the Spaniards in 1535, but not long afterwards came under the Tunisian government. Centuries of neglect followed, and the ancient port was almost choked up, though the value of the fisheries saved the town from utter decay. Its strategical importance was one of the causes which led to the occupation of Tunisia by the French in 1881. In 1890 a concession for a new canal and harbour was granted to a company, and five years later the new port was formally opened. Since then the canal has been widened and deepened, and the naval port at Sidi Abdallah created.
BIZET [Alexandre César Léopold] GEORGES (1838-1875), French musical composer, was born at Bougival, near Paris, on the 25th of October 1838, the son of a singing-master. He displayed musical ability at an early age, and was sent to the Paris Conservatoire, where he studied under Halévy and speedily distinguished himself, carrying off prizes for organ and fugue, and finally in 1857, after an ineffectual attempt in the previous year, the Grand Prix de Rome for a cantata called Cloris et Clotilde. A success of a different kind also befell him at this time. Offenbach, then manager of the Théâtre des Bouffes-Parisiens, had organized a competition for an operetta, in which young Bizet was awarded the first prize in conjunction with Charles Lecocq, each of them writing an operetta called Docteur Miracle. After the three years spent in Rome, an obligation imposed by the French government on the winners of the first prize at the Conservatoire, Bizet returned to Paris, where he achieved a reputation as a pianist and accompanist. On the 23rd of September 1863 his first opera, Les Pêcheurs de perles, was brought out at the Théâtre Lyrique, but owing possibly to the somewhat uninteresting nature of the story, the opera did not enjoy a very long run. The qualities displayed by the composer, however, were amply recognized, although the music was stated, by some critics, to exhibit traces of Wagnerian influence. Wagnerism at that period was a sort of spectre that haunted the imagination of many leading members of the musical press. It sufficed for a work to be at all out of the common for the epithet “Wagnerian” to be applied to it. The term, it may be said, was intended to be condemnatory, and it was applied with little understanding as to its real meaning. The score of the Pêcheurs de perles contains several charming numbers; its dreamy melodies are well adapted to fit a story laid in Eastern climes, and the music reveals a decided dramatic temperament. Some of its dances are now usually introduced into the fourth act of Carmen.
On the 3rd of June 1865 Bizet married a daughter of his old master, Halévy. His second opera, La Jolie Fitte de Perth, produced at the Théâtre Lyrique on 26th December 1867, was scarcely a step in advance. The libretto was founded on Sir Walter Scott’s novel, but the opera lacks unity of style, and its pages are marred by concessions to the vocalist. One number has survived, the characteristic Bohemian dance which has been interpolated into the fourth act of Carmen. In his third opera Bizet returned to an oriental subject. Djamileh, a one-act opera given at the Opéra Comique on the 22nd of May 1872, is certainly one of his most individual efforts. Again were accusations of Wagnerism hurled at the composer’s head, and Djamileh did not achieve the success it undoubtedly deserved. The composer was more fortunate with the incidental music he wrote to Alphonse Daudet’s drama, L’Arlésienne, produced in October 1872. Different numbers from this, arranged in the form of suites, have often been heard in the concert-room. Rarely have poetry and imagination been so well allied as in these exquisite pages, which seem to reflect the sunny skies of Provence.
Bizet’s masterpiece, Carmen, was brought out at the Opéra Comique on the 3rd of March 1875. It was based on a version by Meilhac and Halévy of a study by Prosper Mérimée—in which the dramatic element was obscured by much descriptive writing. The detection of the drama underlying this psychological narrative was in itself a brilliant discovery, and in reconstructing the story in dramatic form the authors produced one of the most famous libretti in the whole range of opera. Still more striking than the libretto was the music composed by Bizet, in which the peculiar use of the flute and of the lowest notes of the harp deserves particular attention.
On the 3rd of June, three months after the production of Carmen in Paris, the genial composer expired after a few hours’ illness from a heart affection. Before dying he had the satisfaction of knowing that Carmen had been accepted for production at Vienna. After the Austrian capital came Brussels, Berlin and, in 1878, London, when Carmen was brought out at Her Majesty’s theatre with immense success. The influence exercised by Bizet on dramatic music has been very great, and may be discerned in the realistic works of the young Italian school, as well as in those of his own countrymen.
BJÖRNEBORG (Finnish, Pori), a district town of Finland, province of Åbo-Björneborg, on the E. coast of the Gulf of Bothnia, at the mouth of the Kumo. Lat. 51° 8′ N., long. 46° 0′ E. Pop. (1904) 16,053, mostly Swedes. Large vessels cannot enter its roadstead, and stop at Räfsö. The town has shipbuilding wharves, machine works, and several tanneries and brick-works, and has a total trade of over 16,000,000 marks, the chief export being timber.
BJÖRNSON, BJÖRNSTJERNE (1832-1910), Norwegian poet, novelist and dramatist, was born on the 8th of December 1832 at the farmstead of Björngen, in Kvikne, in Österdal, Norway. In 1837 his father, who had been pastor of Kvikne, was transferred to the parish of Noesset, in Romsdal; in this romantic district the childhood of Björnson was spent. After some teaching at the neighbouring town of Molde, he was sent at the age of seventeen to a well-known school in Christiania to study for the university; his instinct for poetry was already awakened, and indeed he had written verses from his eleventh year. He matriculated at the university of Christiania in 1852, and soon began to work as a journalist, especially as a dramatic critic. In 1857 appeared Synnöve Solbakken, the first of Björnson’s peasant-novels; in 1858 this was followed by Arne, in 1860 by A Happy Boy, and in 1868 by The Fisher Maiden. These are the most important specimens of his bonde-fortaellinger or peasant-tales—a section of his literary work which has made a profound impression in his own country, and has made him popular throughout the world. Two of the tales, Arne and Synnöve Solbakken, offer perhaps finer examples of the pure peasant-story than are to be found elsewhere in literature.