| The first and most important point in match play is to | | | | your mode of attack. It is decided for you by the |
| know how to lose. Lose cheerfully, generously, and like | | | | weakness of your opponent. If he dislikes to meet a |
| a sportsman. This is the first great law of tennis, and | | | | netman, go to the net. If he wants you at the net, stay |
| the second is like unto it to win modestly, cheerfully, | | | | back and force him to come in. If he attacks viciously, |
| generously, and like a sportsman. | | | | meet his attack with an equally strong offensive. |
| The object of match play is to win, but no credit goes | | | | Remember that the strongest defence is to attack, for |
| to a man who does not win fairly and squarely. A | | | | if the other man is occupied in meeting your attack, he |
| victory is a defeat if it is other than fair. Yet again I say | | | | will have less time to formulate his own system. |
| to win is the object, and to do so, one should play to | | | | If you are playing a very steady man, do not strive to |
| the last ounce of his strength, the last gasp of his | | | | beat him at his own game. He is better at it than you in |
| breath, and the last scrap of his nerve. If you do so | | | | many cases, so go in and hit to win. On the other hand, |
| and lose, the better man won. If you do not, you have | | | | if you find that your opponent is wild and prone to miss, |
| robbed your opponent of his right of beating your best. | | | | play safe and reap the full crop of his errors. It saves |
| Be fair to both him and yourself | | | | you trouble and takes his confidence. |
| "The Play's the thing," and in match play a good defeat | | | | Above all, never change a winning game. |
| is far more creditable than a hollow victory. Play tennis | | | | Always change a losing game, since, as you are |
| for the game's sake. Play it for the men you meet, the | | | | getting beaten that way, you are no worse off and |
| friends you make, and the pleasure you may give to | | | | may be better with a new style. |
| the public by the hard working yet sporting game that | | | | The question of changing a losing game is a very |
| is owed them by their presence at the match. | | | | serious thing. It is hard to say just when you are really |
| Many tennis players feel they owe the public nothing, | | | | beaten. If you feel you are playing well yet have lost |
| and are granting a favour by playing. It is my belief that | | | | the first set about 3-6 or 4-6, with the loss of only one |
| when the public so honours a player that they attend | | | | service, you should not change. Your game is not really |
| matches, that player is in duty bound to give of his | | | | a losing game. It is simply a case of one break of |
| best, freely, willingly, and cheerfully, for only by so doing | | | | service, and might well win the next set. If, however, |
| can he repay the honour paid him. The tennis star of | | | | you have dropped the first set in a 2 out of 3 match |
| today owes his public as much as the actor owes the | | | | with but one or two games, now you are outclassed |
| audience, and only by meeting his obligations can tennis | | | | and should try something else. |
| be retained in public favour. The players get their | | | | Take chances when you are behind, never when |
| reward in the personal popularity they gain by their | | | | ahead. Risks are only worth while when you have |
| conscientious work. | | | | everything to win and nothing to lose. It may spell |
| There is another factor that is even stronger than this, | | | | victory, and at least will not hasten defeat. Above all, |
| that will always produce fine tennis in championship | | | | never lose your nerve or confidence in a match. By so |
| events. It is the competitive spirit that is the breath of | | | | doing you have handed your opponent about two |
| life to every true sportsman: the desire to prove to | | | | points a game a rather hard handicap to beat at your |
| himself he can beat the best of the other man; the real | | | | best. |
| regret that comes when he wins, and feels the loser | | | | Never let your opponent know you are worried. Never |
| was not at his best. | | | | show fatigue or pain if it is possible to avoid, since it will |
| The keen competitive spirit that stimulates a match | | | | only give him confidence. Remember that he feels just |
| player also increases the nervous strain. This should be | | | | as bad as you, and any sign of weakening on your |
| recognized by tournament committees, and the | | | | part encourages him to go on. In other words, keep |
| conditions of play should be as nearly standardized as | | | | your teeth always in the match. |
| weather permits. | | | | Don't worry. Don't fuss. Luck evens up in the long run, |
| The first thing to fix firmly in your mind in playing a | | | | and to worry only upsets your own game without |
| match, is never to allow your opponent to play a shot | | | | affecting your opponent. A smile wins a lot of points |
| he likes if it is possible to force him to make one he | | | | because it gives the impression of confidence on your |
| does not. Study your opponent both on and off the | | | | part that shakes that of the other man. Fight all the |
| court. Look for a weakness, and, once finding it, pound | | | | time. The harder the strain the harder you should fight, |
| it without mercy. Remember that you do not decide | | | | but do it easily, happily, and enjoy it. |