Tennis is at once an art and a science. The game as played by such men as Norman E. Brookes, the late Anthony Wilding, William M. Johnston, and R. N. Williams is art. Yet like all true art, it has its basis in scientific methods that must be learned and learned thoroughly for a foundation before the artistic structure of a great tennis game can be constructed. Every player who helps to attain a high degree of efficiency should have a clearly defined method of development and adhere to it. He sho

The season of 1921 was so epoch-making in the game of tennis, combining as it did the greatest number of Davis Cup matches that have ever been held in one year, the invasion of France and England by an American team, the first appearance in America of Mlle. Suzanne Lenglen and her unfortunate collapse, and finally the rise to prominence of Japan as a leading factor in the tennis world that I have incorporated a record of the season's outstanding features and some sidelights and personality sketc

I trust this initial effort of mine in the world of letters will find a place among both novices and experts in the tennis world. I am striving to interest the student of the game by a somewhat prolonged discussion of match play, which I trust will shed a new light on the game. May I turn to the novice at my opening and speak of certain matters which are second nature to the skilled player? The best tennis equipment is not too good for the beginner who seeks really to succeed. It is a saving in

The forehand drive is the opening of every offensive in tennis, and, as such, should be most carefully studied. There are certain rules of footwork that apply to all shots. To reach a ball that is a short distance away, advance the foot that is away from the shot and thus swing into position to hit. If a ball is too close to the body, retreat the foot closest to the shot and drop the weight back on it, thus, again, being in position for the stroke. When hurried, and it is not possible to change

Service is the opening gun of tennis. It is putting the ball in play. The old idea was that service should never be more than merely the beginning of a rally. With the rise of American tennis and the advent of Dwight Davis and Holcombe Ward, service took on a new significance. These two men originated what is now known as the American Twist delivery. From a mere formality, service became a point winner. Slowly it gained in importance, until Maurice E. M'Loughlin, the wonderful "California Comet,

The net attack is the heavy artillery of tennis. It is supposed to crush all defence. As such it must be regarded as a point-winning stroke at all times, no matter whether the shot is volley or smash. Once at the net hit from the point at the first opportunity given to get the racquet squarely on the ball. All the laws of footwork explained for the drive are theoretically the same in volleying. In practice you seldom have time to change your feet to a set position, so you obviate trouble by thro

I am called at times a chop-stroke player. I SELDOM CHOP. My stroke is a slice. A chop stroke is a shot where the angle towards the player and behind the racquet, made by the line of flight of the ball, and the racquet travelling down across it, is greater than 45 degrees and may be 90 degrees. The racquet face passes slightly OUTSIDE the ball and down the side, chopping it, as a man chops wood. The spin and curve is from right to left. It is made with a stiff wrist. Irving C. Wright, brother of

Tennis psychology is nothing more than understanding the workings of your opponent's mind, and gauging the effect of your own game on his mental viewpoint, and understanding the mental effects resulting from the various external causes on your own mind. You cannot be a successful psychologist of others without first understanding your own mental processes, you must study the effect on yourself of the same happening under different circumstances. You react differently in different moods and under

The first and most important point in match play is to know how to lose. Lose cheerfully, generously, and like a sportsman. This is the first great law of tennis, and the second is like unto it—to win modestly, cheerfully, generously, and like a sportsman. The object of match play is to win, but no credit goes to a man who does not win fairly and squarely. A victory is a defeat if it is other than fair. Yet again I say to win is the object, and to do so, one should play to the last ounce of his

Physical fitness is one of the great essentials of match play. Keenness can only be acquired if the physical, mental, and nervous systems are in tune. Consistent and systematic training is essential to a tournament player. Regular hours of sleep, and regular, hearty food at regular hours are necessary to keep the body at its highest efficiency. Food is particularly important. Eat well, but do not over-eat, particularly immediately before playing. I believe in a large hearty breakfast on the day

Singles, the greatest strain in tennis, is the game for two players. It is in this phase of the game that the personal equation reaches its crest of importance. This is the game of individual effort, mental and physical. A hard 5-set singles match is the greatest strain on the body and nervous system of any form of sport. Richard Harte and L. C. Wister, the former a famous Harvard University football and baseball player, the latter a football star at Princeton, both of whom are famous tennis pla

Lawn tennis is the outgrowth of the old French game of the courts of the early Louis. It spread to England, where it gained a firm hold on public favour. The game divided; the original form being closely adhered to in the game known in America as "Court tennis," but which is called "Tennis" in England. Lawn tennis grew out of it. The old style game was played over a net some 5 feet high, and the service was always from the same end, the players changing courts each game. It was more on the style

What will be the outcome of the world-wide boom in tennis? Will the game change materially in the coming years? Time, alone, can answer; but with that rashness that seizes one when the opportunity to prophesy arrives and no one is at hand to cry "Hold, hold," I dare to submit my views on the coming years in international tennis. I do not look to see a material change in the playing rules. A revival of the footfault fiend, who desires to handicap the server, is international in character and, lik

P. T. BARNUM immortalised Lincoln's language by often quoting him with: "You can fool some of the people all of the time, and all of the people some of the time, but you can't fool all of the people all of the time." P. T. was an able judge of the public, and it is just this inability to fool all of the people all of the time that accounts for the sudden disappearance from the public eye of some one who only fooled all of the people for a little while. That person was a sham, a bluff, a gamester

The American champion is one of the really great orthodox players in the world. There is nothing eccentric, nothing freakish about his game. Johnston is a small man, short and light; but by perfect weight-control, footwork, and timing he hits with terrific speed. His service is a slice. Hit from the top of his reach Johnston gets power and twist on the ball with little effort. He has a wonderful forehand drive, of a top-spin variety. This shot is world famous, for never in the history of the gam

There is no name in tennis history of the past decade more famous than that of J. C. Parke. In twelve months, during 1912 and 1913, he defeated Brookes, Wilding, and M'Loughlin—a notable record; and now in 1920, after his wonderful work in the World War, he returns to tennis and scores a decisive victory over W. M. Johnston. Parke is essentially a baseline player. His service is soft, flat, but well placed. His ground strokes are hit with an almost flat racquet face and a peculiar short swing. H

France One of the most picturesque figures and delightfully polished tennis games in the world are joined in that volatile, temperamental player, Andre Gobert of France. He is a typically French product, full of finesse, art, and nerve, surrounded by the romance of a wonderful war record of his people in which he bore a magnificent part, yet unstable, erratic, and uncertain. At his best he is invincible. He is the great master of tennis. At his worst he is mediocre. Gobert is at once a delight a

Spain A new factor entered the arena of world tennis in 1921 in the appearance of a Spanish Davis Cup team. Among their number is a star who bids fair to become one of the greatest players the world has ever seen. A scintillating personality, brilliant versatile game, and fighting temperament placed this young unknown in the first rank in one year of competition. Seldom have I seen such wonderful natural abilities as are found in this young Spaniard. Here is a player par excellence if he develop

Australasia The death of that sterling sportsman, Anthony F. Wilding, and the natural decline in the playing powers of Norman E. Brookes, owing to the advance of years and his war experiences, leave Australasia (Australia and New Zealand) in a somewhat uncertain condition regarding its tennis prospects. Volumes have been written about N. E. Brookes and his tennis genius, but I would not feel right if I could not pay at least a slight tribute to the greatest tennis player and genius of all time.

Women's Tennis The great boom that featured the whole tennis season of 1921 in America found one of its most remarkable manifestations in the increased amount of play, higher standard of competition and remarkable growth of public interest in women's tennis. England has led, and still leads, the world in women's tennis. The general standard of play is on a higher scale and there is more tournament play in England than elsewhere. France, with Mlle. Suzanne Lenglen, Mme. Billout (Mlle. Brocadies)

{PLATE II. FOREHAND GRIP. FRONT VIEW. Notice the straight line of the arm, hand and racquet, the flat racquet face, the natural finger position on the handle. The racquet is in position to hit a forehand drive. FOREHAND GRIP, BACK VIEW. The line is straight, the head of the racquet slightly in advance of the hand. The pose is at the moment of contact between ball and racquet.} {PLATE III. THE COMPLETED SWING OF THE FOREHAND DRIVE. Notice the body position, at right angles to the net, the weight