Now the tennis ball is your moving object while the court, gallery, net, and your opponent const.i.tute your background. You desire to hit the ball cleanly, therefore do not look at the other factors concerned, but concentrate solely on focusing the eye firmly on the ball, and watching it until the moment of impact with your racquet face.

"How do I know where my opponent is, or how much court I have to hit in?" ask countless beginners.

Remember this: that a tennis court is always the same size, with the net the same height and in the same relation to you at all times, so there is no need to look at it every moment or so to see if it has moved. Only an earthquake can change its position.

As to your opponent, it makes little difference about his position, because it is determined by the shot you are striving to return. Where he will be I will strive to explain in my chapter on court position; but his whereabouts are known without looking at him. You are not trying to hit him. You strive to miss him. Therefore, since you must watch what you strive to hit and not follow what you only wish to miss, keep your eye on the ball, and let your opponent take care of himself.

Science has proved that given a tennis ball pa.s.sing from point A to point B with the receiving player at B, that if the player at B keeps his eye on the ball throughout its full flight his chance of making a good A 1 2 3 4 B ------------------------------- return at B is five times as great as if he took his eye off the ball at a point 4, or 4/5 of a second of its flight. Likewise it is ten times as great at B as it is if the eye is removed from the ball at 3, or 3/5 of a second of its flight. Why increase your chances of error by five times or ten times when it is unnecessary?

The average player follows the ball to 4, and then he takes a last look at his opponent to see where he is, and by so doing increases his chance of error five times. He judges the flight of the ball some 10 feet away, and never really sees it again until he has. .h.i.t it (if he does). A slight deflection caused by the wind or a small misjudgment of curve will certainly mean error.

Remembering the 85 percent errors in tennis, I again ask you if it is worth while to take the risk?

There are many other reasons why keeping the eye on the ball is a great aid to the player. It tends to hold his attention so that outside occurrences will not distract. Movements in the gallery are not seen, and stray dogs, that seem to particularly enjoy sleeping in the middle of a tennis court during a hard match, are not seen on their way to their sleeping quarters. Having learned the knack of watching the ball at all times, I felt that nothing would worry me, until three years ago at the American Championships, when I was playing T. R. Pell. A press- camera man eluded the watchful eye of the officials, and un.o.btrusively seated himself close to our sideline to acquire some action pictures. Pell angled sharply by to my backhand, and I ran at my hardest for the shot, eyes fixed solely on the ball. I hauled off to hit it a mighty drive, which would have probably gone over the backstop, when suddenly I heard a camera click just under me, and the next moment camera, pressman, and tennis player were rolling in a heap all over the court. The pressman got his action picture and a sore foot where I walked on him, and all I got was a sore arm and a ruffled temper. That's why I don't like cameras right under my nose when I play matches, but for all that I still advocate keeping your eye on the ball.

GRIP, FOOTWORK, AND STROKES

Footwork is weight control. It is correct body position for strokes, and out of it all strokes should grow. In explaining the various forms of stroke and footwork I am writing as a right-hand player. Left- handers should simply reverse the feet.

Racquet grip is a very essential part of stroke, because a faulty grip will ruin the finest serving. There is the so-called Western or Californian grip as typified by Maurice E. M'Loughlin, Willis, E. Davis, and, to a slightly modified degree, W. M. Johnston, the American champion. It is a natural grip for a top forehand drive.

It is inherently weak for the backhand, as the only natural shot is a chop stroke.

The English grip, with the low wrist on all ground strokes, has proved very successful in the past. Yet the broken line of the arm and hand does not commend itself to me, as any broken line is weak under stress.

The Eastern American grip, which I advocate, is the English grip without the low wrist and broken line. To acquire the forehand grip, hold the racquet with the edge of the frame towards the ground and the face perpendicular, the handle towards the body, and "shake hands" with it, just as if you were greeting a friend.

The handle settled comfortably and naturally into the hand, the line of the arm, hand, and racquet are one. The swing brings the racquet head on a line with the arm, and the whole racquet is merely an extension of it.

The backhand grip is a quarter circle turn of hand on the handle, bringing the hand on top of the handle and the knuckles directly up. The shot travels ACROSS the wrist.

This is the best basis for a grip. I do not advocate learning this grip exactly, but model your natural grip as closely as possible on these lines without sacrificing your own comfort or individuality.

Having once settled the racquet in the hand, the next question is the position of the body and the order of developing strokes.

In explaining footwork I am, in future, going to refer in all forehand shots to the right foot as R or "back" foot, and to the left as L or "front." For the backhand the L foot is "back" and R is "front."

All tennis strokes, should be made with the body' at right angles to the net, with the shoulders lined up parallel to the line of flight of the ball. The weight should always travel forward. It should pa.s.s from the back foot to the front foot at the moment of striking the ball. Never allow the weight to be going away from the stroke. It is weight that determines the "pace" of a stroke; swing that, decides the "speed."

Let me explain the definitions of "speed" and "pace." "Speed" is the actual rate with which a ball travels through the air. "Pace"

is the momentum with which it comes off the ground. Pace is weight. It is the "sting" the ball carries when it comes off the ground, giving the inexperienced or unsuspecting player a shock of force which the stroke in no way showed.

Notable examples of "pace" are such men as W. A. Larned, A. W.

Gore, J. C. Parke, and among the younger players, R. N. Williams, Major A. R. F. Kingscote, W. M. Johnston, and, on his forehand stroke, Charles S. Garland.

M. E. M'Loughlin, Willis E. Davis, Harold Throckmorton and several others are famous "speed" exponents.

A great many players have both "speed" and "pace." Some shots may carry both.

The order of learning strokes should be:

1. The Drive. Fore- and backhand. This is the foundation of all tennis, for you cannot build up a net attack unless you have the ground stroke to open the way. Nor can you meet a net attack successfully unless you can drive, as that is the only successful pa.s.sing shot.

2. The Service.

3. The Volley and Overhead Smash.

4. The Chop or Half Volley and other incidental and ornamental strokes.

CHAPTER II. THE DRIVE

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 the foot position, throw the weight on the foot closest to the ball.

The receiver should always await the service facing the net, but once the serve is started on the way to court, the receiver should at once attain the position to receive it with the body at right angles to the net.

The forehand drive is made up of one continuous swing of the racquet that, for the purpose of a.n.a.lysis, may be divided into three parts:

1. The portion of the swing behind the body, which determines the speed of the stroke.

2. That portion immediately in front of the body which determines the direction and, in conjunction with weight shift from one foot to the other, the pace of the shot.

3. The portion beyond the body, comparable to the golfer's "follow through," determines spin, top or slice, imparted to the ball.

All drives should be topped. The slice shot is a totally different stroke.

To drive straight down the side-line, construct in theory a parallelogram with two sides made up of the side-line and your shoulders, and the two ends, the lines of your feet, which should, if extended, form the right angles with the side-lines.

Meet the ball at a point about 4 to 4 1/2 feet from the body immediately in front of the belt buckle, and shift the weight from the back to the front foot at the MOMENT OF STRIKING THE BALL. The swing of the racquet should be flat and straight through. The racquet head should be on a line with the hand, or, if anything, slightly in advance; the whole arm and the racquet should turn slightly over the ball as it leaves the racquet face and the stroke continue to the limit of the swing, thus imparting top spin to the ball.

The hitting plane for all ground strokes should be between the knees and shoulders. The most favourable plane is on a line with the waist.

In driving across the court from the right (or No. 1) court, advance the L or front foot slightly towards the side-line and shift the weight a fraction of a second sooner. As the weight shifts, pivot slightly on the L foot and drive flat, diagonally, across the court. Do not "pull" your cross-court drive, unless with the express purpose of pa.s.sing the net man and using that method to disguise your shot.

NEVER STEP AWAY FROM THE BALL IN DRIVING CROSS COURT. ALWAYS THROW YOUR WEIGHT IN THE SHOT.

The forehand drive from the No. 2 (or left) court is identically the same for the straight shot down your opponent's forehand. For the cross drive to his backhand, you must conceive of a diagonal line from your backhand corner to his, and thus make your stroke with the footwork as if this imaginary line were the side-line.

In other words, line up your body along your shot and make your regular drive. Do not try to "spoon" the ball over with a delayed wrist motion, as it tends to slide the ball off your racquet.

All drives should be made with a stiff, locked wrist. There is no wrist movement in a true drive. Top spin is imparted by the arm, not the wrist.

The backhand drive follows closely the principles of the forehand, except that the weight shifts a moment sooner, and the R or front foot should always be advanced a trifle closer to the side-line than the L so as to bring the body clear of the swing.

The ball should be met in front of the right leg, instead of the belt buckle, as the great tendency in backhand shots is to slice them out of the side-line, and this will pull the ball cross court, obviating this error. The racquet head must be slightly in advance of the hand to aid in bringing the ball in the court. Do not strive for too much top spin on your backhand.

I strongly urge that no one should ever favour one department of his game, in defence of a weakness. Develop both forehand and backhand, and do not "run around" your backhand, particularly in return of service. To do so merely opens your court. If you should do so, strive to ace your returns, because a weak effort would only result in a kill by your opponent.

Do not develop one favourite shot and play nothing but that. If you have a fair cross-court drive, do not use it in practice, but strive to develop an equally fine straight shot.

Remember that the fast shot is the straight shot. The cross drive must be slow, for it has not the room owing to the increased angle and height of the net. Pa.s.s down the line with your drive, but open the court with your cross-court shot.