The Art of Lawn Tennis Part 1

The Art of Lawn Tennis.

by Tilden.

INTRODUCTION

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 should be certain that it is based on sound principles and, once a.s.sured of that, follow it, even though his progress seems slow and discouraging.

I began tennis wrong. My strokes were wrong and my viewpoint clouded. I had no early training such as many of our American boys have at the present time. No one told me the importance of the fundamentals of the game, such as keeping the eye on the ball or correct body position and footwork. I was given a racquet and allowed to hit the ball. Naturally, like all beginners, I acquired many very serious faults. I worried along with moderate success until I had been graduated from school, beating some fairly good players, but losing some matches to men below my cla.s.s. The year following my graduation the new Captain of my Alma Mater's team asked me if I would aid him in developing the squad for next year. Well, "Fools rush in where angels fear to tread," so I said Yes.

At that point my tennis education began.

The youngsters comprising our tennis squad all knew me well and felt at perfect liberty to ask me as many questions as they could think up. I was besieged with requests to explain why Jones missed a forehand drive down the side-line, or Smith couldn't serve well, or Brown failed to hit the ball at all. Frankly, I did not know, but I answered them something at the moment and said to myself it was time I learned some fundamentals of tennis.

So I began to study the reasons why certain shots are missed and others made. Why certain b.a.l.l.s are hit so much faster though with less effort than others, and why some players are great while most are only good. I am still studying, but my results to date have resulted in a definite system to be learned, and it is this which I hope to explain to you in my book.

Tennis has a language all its own. The idioms of the game should be learned, as all books on the game are written in tennis parlance. The technical terms and their counterpart in slang need to be understood to thoroughly grasp the idea in any written tennis account.

I do not believe in using a great deal of s.p.a.ce carefully defining each blade of gra.s.s on a court, or each rule of the game. It gets nowhere. I do advocate teaching the terms of the game.

1. THE COURT.

The Baseline=The back line.

The Service-line=The back line of the service court, extending from side-line to side-line at a point 21 feet from the net.

The Alleys=The s.p.a.ce on each side of the court between the side service-line and the outside sideline of a doubles court. They are used only when playing doubles and are not marked on a single court.

The Net=The barrier that stretches across the court in the exact centre. It is 3 feet high at the centre and 3 feet 6 inches high at the posts which stand 3 feet outside the sidelines.

2. STROKES (Two General Cla.s.ses).

A. Ground strokes=All shots. .h.i.t from the baselines off the bounce of the ball.

B. Volleys=Shots. .h.i.t while the ball is in flight through the air, previous to its bound.

The Service=The method of putting the ball in play.

The Drive=A ground stroke hit with a flat racquet face and carrying top spin.

The Chop=An undercut ground stroke is the general definition of a chop. The slice and chop are so closely related that, except in stroke a.n.a.lysis, they may be called chop.

Stop Volley=Blocking a hall short in its flight.

Half Volley or Trap Shot=A pick up.

The Smash=Hitting on the full any overhead ball.

The Lob=Hitting the ball in a high parabola.

3. TWIST ON THE BALL.

Top Spin=The ball spins towards the ground and in the direction of its flight.

Chop, Cut, or Drag=The ball spins upwards from the ground and against the line of flight. This is slightly deviated in the slice, but all these terms are used to designate the under-struck, back-spinning ball.

Reverse Twist=A ball that carries a rotary spin that curves one way and bounces the opposite.

Break=A spin which causes the ball to bounce at an angle to its line of flight.

4. LET=A service that touches the net in its flight yet falls in court, or any illegal or irregular point that does not count.

5. FAULT=An illegal service.

6. OUT=Any shot hit outside legal boundaries of the court.

7. GOOD=Any shot that strikes in a legal manner prescribed by rules of the game.

8. FOOTFAULT=An illegal service delivery due to incorrect position of the server's feet.

9. SERVER=Player delivering service.

10. RECEIVER or STRIKER=Player returning service.

W. T. T. WIMBLEDON, July 1920

PREFACE TO NEW EDITION

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 j.a.pan 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 sketches on the new stars in the new addition of this book.

The importance of women's tennis has grown so tremendously in the past few years that I have also added a review of the game and its progress in America. Not only has Mlle. Lenglen placed her mark indelibly on the pages of tennis history but 1921 served to raise Mrs. Molla Bjurstedt Mallory to the position in the world that she rightly deserves, that of the greatest match winner of all women. The past season brought the return to American courts of Mrs. May Sutton Bundy and Miss Mary Browne, in itself an event of sufficient importance to set the year apart as one of highest value.

The outstanding performances of the two juniors, Vincent Richards and Arnold Jones, must be regarded as worthy of permanent recognition and among the outstanding features of a noteworthy year. Thus it is with a sense of recording history- making facts that I turn to the events of 1921.

WILLIAM T. TILDEN 2D GERMANTOWN, PHILADELPHIA

CONTENTS

INTRODUCTION PREFACE TO NEW EDITION

PART I: TENNIS TECHNIQUE--STROKES AND FUNDAMENTALS OF THE GAME

CHAPTER I FOR NOVICES ONLY II THE DRIVE III SERVICE IV THE VOLLEY AND OVERHEAD SMASH V CHOP, HALF VOLLEY, AND COURT POSITION