The Art of Lawn Tennis

lly, generously, and like a sportsman. This is the first great law of tennis, and the

in I say to win is the object, and to do so, one should play to the last ounce of his strength, the last gasp of his breath, and the last scrap of his nerve.

tennis for the game's sake. Play it for the men you meet, the friends you make, and the pleasure you may

in duty bound to give of his best, freely, willingly, and cheerfully, for only by so doing can he repay the honour paid him. The tennis star of to-day owes his public as much as the actor

re to prove to himself he can beat the best of the other man; the real regret that comes when he wins, and feels the loser was not at his best. It is that which has made popular idols of Anthony F. Wilding,

he nervous strain. This should be recognized by tournament committees, and

essories to every match of importance should be picked and on hand when the players appear. A good linesman is a great aid to match tennis. A poor one may ruin a great battle. Not on

ould call "out" at once clearly, decisively, but not too loudly; a yell is ofte

y has eyes. Following each game, the game score should be called, giving the leading player's name and the set being played. For example, "Four games to three, Parke leads. Second set." About every third game following the completion of the first set,

e sufficient room behind the baseline and at the sid

asm until a point is completed, since noise is very disconcertin

ow be considered in relation

both on and off the court. Look for a weakness, and, once finding it, pound it without mercy. Remember that you do not decide your mode of attack. It is decided for you by the weakness of your

r if the other man is occupied in meeting your attac

ou in many cases, so go in and hit to win. On the other hand, if you find that your opponent is wild and p

VER CHANGE A

are getting beaten that way, you are no w

set about 6-3 or 6-4, with the loss of only one service, you should not change. Your game is not really a losing game. It is simply a case of one break of service, and mi

ng to lose. It may spell victory, and at least will not hasten defeat. Above all, never lose your nerve or confidence in

since it will only give him confidence. Remember that he feels just as bad as you, and any sign of

ponent. A smile wins a lot of points because it gives the impression of confidence on your part that shakes that of the

ers, resolves itself into a battle of wits and nerve. The man w

win your other matches decisively, but not destructively. Why should a great star discourage and dishearten a player several classes below him by crushing him, as he no doubt

ur hurrying after the ball is in play, by running him to unexpected places in the court. Should anyone attempt to work the hurried service on you, after several attempts

at is wholly uncalled for. Play the game naturally, and give your oppone

s in your opponent's game; but never trespass

t of his just triumph, and you should never do this unless it is absolutely impossible to avoid. Sickness or some equally

uce his best under the excitement of competition. Le

an E. Brookes is the greatest match player the world has ever known, because he is ever ready to change his plan to meet the strategy of his opponent, and has both the variety of stroke and versatility of intellect to outguess the other the majority of time

a match, as it stimulates his mental

nis that is its greatest charm. Two men may meet for tennis during a season, and be so closely matched that each man wi

n R. L. Murray and Ichija Kumagae during the seasons of 1918 and 1919. In the early stages Murray had a decided advantage, winning from Kumagae consistently, but by close scores. Early in 1919 Kumagae unexpectedly defeated Murray at Buffalo in four sets. From that mo

ground strokes with the Japanese star player successfully, and could not stand the terrific pace of rushin

victories over Kumagae during the same period. Why should Richards worry Ku

esult is, against Kumagae's driving he is perfectly at home. Murray is a vicious net player who swept Richards off his feet. The boy has not the speed on his ground strokes to pass Murray, who volleys off his chop for points, and cannot take the n

ses to men whom Voshell defeats. Williams proves a stumb

e playing. Suit your style to his weakness. A chop is the antidote for the drive. The volley is the answer to a chop, yet a drive is the only safe attack agains

superlative terms, yet fall a victim to the erratic streak that is in him when some second-class player plays patball with him. Such defeats

tend to affect the better player more th

t be, and any variation from the normal is apt to spell error. The average player allows himself more leeway, and unknowingly increases his chances

downfall to N. W. Niles in the 1917 American Championships. Rain and wind marred

illing to change his game to meet condit

in judging the relative merits of two players you know nothing of. Rankings based on mathemati

ngland sometimes when clear but more often in rain, judging by the events I swam through in my recent trip. A match