Tennis Psychology

Flow State in Tennis

2025-10-30T08:14:00.000-07:00

Flow State in Tennis

Introduction

Hook: We've all experienced it—a match where time slows down, every ball feels perfectly struck, and you're playing without effort. This is the Flow State, or "The Zone."

Thesis: Getting into the Flow State isn't accidental; it's a matter of managing your physiological and psychological intensity, known as Arousal. This article explores the science behind optimal arousal and practical techniques to consistently enter your personal peak performance zone.

Understanding the Inverted-U Theory

Explain Arousal: Arousal in sports psychology is a state of physiological and psychological activation (not just "getting psyched up"). It ranges from deep sleep to intense panic.

The Inverted-U Principle: Detail the classic theory: Performance is poor when arousal is too low (bored, sluggish) and poor when it is too high (anxious, tense, "choking").

Individual Zone of Optimal Functioning (IZOF): Crucially, the peak of the U-curve is unique to every player. A relaxed, 'chill' player (like Federer) has a different IZOF than an intense, 'fiery' player (like Nadal). The goal is to find your perfect middle ground.

Strategies for Adjusting Arousal

Provide actionable techniques for the player to move their arousal up or down the curve:

To Increase Low Arousal (When you feel sluggish/bored):

Physical: Quick bursts of energy (jumping jacks, high knees) during a changeover.

Mental: Aggressive self-talk ("Let's go! Attack!"), visualizing an aggressive tactical plan, setting process goals for high effort.

To Decrease High Arousal (When you feel tense/anxious):

Physical: Deep diaphragmatic breathing (slow, measured breaths) to activate the parasympathetic nervous system, shaking out the limbs to release muscle tension.

Mental: Focus solely on external cues (watching the ball, a target on the court), shift from outcome goals to effort goals.

The Bridge to Flow: Action-Focus

Explain that once optimal arousal is achieved, the key to unlocking Flow is total absorption in the task at hand.

Flow requires a balance between the perceived challenge and the player's skill level. When they match, a player is fully immersed, leading to effortless performance.

Conclusion: Self-Awareness is Your Coach

Emphasize that mastering arousal is a journey of self-discovery. Players must learn to recognize the subtle physical and mental signs of being "too hot" or "too cold."

Final Tip: Use your practice sessions to experiment with these techniques.

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Mastering the Art of the Reset in Tennis

2025-10-30T07:45:00.000-07:00

Mastering the Art of the Reset in Tennis

Introduction

Hook: While the action of a tennis point is fast and furious, the time between points—the crucial 25-second (or less) period—is where the mental battle is often won or lost.

Thesis: True mental toughness isn't just about fighting during the point; it's about the discipline to "reset" your mind and body consistently between points, eliminating the last point's outcome from influencing the next. This article will break down the essential components of a winning Between-Point Routine (BPR).

The Problem: The Contamination Effect

Explain how letting an error (a double fault, a missed sitter) or even a great shot linger in the mind negatively impacts the next point (the "contamination effect").

Reference the "short-term memory" approach: The best players have an incredibly short memory for both mistakes and successes.

Key Concept: The time between points is the transition from "Evaluation" (briefly acknowledging the last point) to "Preparation" (focusing on the next one).

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The Solution: The 3-Step Between-Point Routine

(BPR) Break the 25 seconds into three distinct, non-negotiable phases:

Phase 1: Release and Recovery (0-5 seconds): As soon as the point ends, take a deep breath, turn your back to the net, and visually or verbally "flush" the last point. (e.g., A quick look at the strings, a mantra like "Reset," or a deep, cleansing breath). Focus on physical recovery (walking, not sprinting, to the towel).

Phase 2: Tactical Check (5-15 seconds): Consult your internal coach. What did the opponent do on that last point? What's the plan for the next one? (e.g., "Attack the backhand," "Serve wide to the ad court"). This is a moment for purposeful, solution-oriented thought.

Phase 3: The Ready State (15-25 seconds): Adopt your pre-point ritual (e.g., ball bounces, rope spin, fixed gaze). This is a trigger to engage your focus fully, moving from analytical thought to instinctive, present-moment action.

Practical Tools for a Strong BPR

Breathing: The 4-7-8 method (inhale for 4, hold for 7, exhale for 8) during changeovers to drop the heart rate.

Anchors/Cues: Use a physical cue (e.g., tapping the racket) combined with a mental cue (e.g., "Focus") to signal the start of the routine.

The Power of Slow: Deliberately slow down your movements between points, especially after an error, to regain composure.

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GRIP, FOOTWORK, AND STROKES IN TENNIS.

2025-10-15T09:02:00.000-07:00

FOOTWORK, AND STROKES IN TENNIS

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-handlers should simply reverse the feet.

Racket grip is a very essential part of stroke, because a faulty grip will ruin the finest serving. 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.

To acquire the forehand grip, hold the racket 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 racket are one. The swing brings the racket head on a line with the arm, and the whole racket 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 racket in the hand, the next question is the position of the body and the order of developing strokes.

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 pass 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."

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THE FUNDAMENTALS OF TENNIS.

2025-10-15T08:27:00.000-07:00

THE FUNDAMENTALS OF TENNIS

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 end, as good quality material so far outlasts poor.

Always dress in tennis clothes when engaging in tennis. The question of choosing a racket is a much more serious matter. I do not advocate forcing a certain racket upon any player. All the standard makes are excellent. It is in weight, balance, and size of handle that the real value of a racket frame depends, while good stringing is, essential to obtain the best results.

After you have acquired your racket, make a firm resolve to use good tennis balls, as a regular bounce is a great aid to advancement, while a "dead" ball is no practice at all.

If you really desire to succeed at the game and advance rapidly, I strongly urge you to see all the good tennis you can. Study the play of the leading players and strive to copy their strokes. Read all the tennis instruction books you can find. They are a great assistance.

More tennis can be learned off the court, in the study of theory, and in watching the best players in action, than can ever be learned in actual play. I do not mean miss opportunities to play. Far from it. Play whenever possible, but strive when playing to put in practice the theories you have read or the strokes you have watched.

Never be discouraged at slow progress. The trick over some stroke you have worked over for weeks unsuccessfully will suddenly come to you when least expected. Tennis players are the product of hard work. Very few are born geniuses at the game.

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GENERAL TENNIS PSYCHOLOGY

2014-07-02T13:45:00.000-07:00

GENERAL TENNIS PSYCHOLOGY

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 different conditions. You must realize the effect on your game of the resulting irritation, pleasure, confusion, or whatever form your reaction takes. Does it increase your efficiency? If so, strive for it, but never give it to your opponent.

Does it deprive you of concentration? If so, either remove the cause, or if that is not possible strive to ignore it.

Once you have judged accurately your own reaction to conditions, study your opponents, to decide their temperaments. Like temperaments react similarly, and you may judge men of your own type by yourself. Opposite temperaments you must seek to compare with people whose reactions you know.

A person who can control his own mental processes stands an excellent chance of reading those of another, for the human mind works along definite lines of thought, and can be studied. One can only control one's, mental processes after carefully studying them.

A steady phlegmatic baseline player is seldom a keen thinker. If he was he would not adhere to the baseline.

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The physical appearance of a man is usually a pretty clear index to his type of mind. The stolid, easy-going man, who usually advocates the baseline game, does so because he hates to stir up his torpid mind to think out a safe method of reaching the net. There is the other type of baseline player, who prefers to remain on the back of the court while directing an attack intended to break up your game. He is a very dangerous player, and a deep, keen thinking antagonist. He achieves his results by mixing up his length and direction, and worrying you with the variety of his game. He is a good psychologist. The first type of player mentioned merely hits the ball with little idea of what he is doing, while the latter always has a definite plan and adheres to it. The hard-hitting, erratic, net-rushing player is a creature of impulse. There is no real system to his attack, no understanding of your game. He will make brilliant coups on the spur of the moment, largely by instinct; but there is no, mental power of consistent thinking. It is an interesting, fascinating type.

The dangerous man is the player who mixes his style from back to fore court at the direction of an ever-alert mind. This is the man to study and learn from. He is a player with a definite purpose. A player who has an answer to every query you propound him in your game. He is the most subtle antagonist in the world. He is of the school of Brookes. Second only to him is the man of dogged determination that sets his mind on one plan and adheres to it, bitterly, fiercely fighting to the end, with never a thought of change. He is the man whose psychology is easy to understand, but whose mental viewpoint is hard to upset, for he never allows himself to think of anything except the business at hand. This man is your Johnston or your Wilding. I respect the mental capacity of Brookes more, but I admire the tenacity of purpose of Johnston.

Pick out your type from your own mental processes, and then work out your game along the lines best suited to you.

When two men are, in the same class, as regards stroke equipment, the determining factor in any given match is the mental viewpoint. Luck, so-called, is often grasping the psychological value of a break in the game, and turning it to your own account.

We hear a great deal about the "shots we have made." Few realize the importance of the "shots we have missed." The science of missing shots is as important as that of making them, and at times a miss by an inch is of more value than a, return that is killed by your opponent.

Let me explain. A player drives you far out of court with an angle-shot. You run hard to it, and reaching, drive it hard and fast down the side-line, missing it by an inch. Your opponent is surprised and shaken, realizing that your shot might as well have gone in as out. He will expect you to try it again, and will not take the risk next time. He will try to play the ball, and may fall into error. You have thus taken some of your opponent's confidence, and increased his chance of error, all by a miss.

If you had merely popped back that return, and it had been killed, your opponent would have felt increasingly confident of your inability to get the ball out of his reach, while you would merely have been winded without result.

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Let us suppose you made the shot down the sideline. It was a seemingly impossible get. First it amounts to TWO points in that it took one away from your opponent that should have been his and gave you one you ought never to have had. It also worries your opponent, as he feels he has thrown away a big chance.

The psychology of a tennis match is very interesting, but easily understandable. Both men start with equal chances. Once one man establishes a real lead, his confidence goes up, while his opponent worries, and his mental viewpoint becomes poor. The sole object of the first man is to hold his lead, thus holding his confidence. If the second player pulls even or draws ahead, the inevitable reaction occurs with even a greater contrast in psychology. There is the natural confidence of the leader now with the second man as well as that great stimulus of having turned seeming defeat into probable victory. The reverse in the case of the first player is apt to hopelessly destroy his game, and collapse follows.

THE PSYCHOLOGY OF SINGLES AND DOUBLES IN TENNIS

2014-07-02T13:12:00.000-07:00

THE PSYCHOLOGY OF SINGLES AND DOUBLES IN TENNIS

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. Singles is a game of daring, dash, speed of foot and stroke. It is a game of chance far more than doubles. Since you have no partner dependent upon you, you can afford to risk error for the possibility of speedy victory. Much of what I wrote under match play is more for singles than doubles, yet let me call your attention to certain peculiarities of singles from the standpoint of the spectator.

A gallery enjoys personalities far more than styles. Singles brings two people into close and active relations that show the idiosyncrasies of each player far more acutely than doubles. The spectator is in the position of a man watching an insect under a microscope. He can analyse the inner workings.

The freedom of restraint felt on a single court is in marked contrast to the need for team work in doubles. Go out for your shot in singles whenever there is a reasonable chance of getting it. Hit harder at all times in singles than in doubles, for you have more chance of scoring and can take more risk.
Singles is a game of the imagination, doubles a science of exact angles.

Doubles is four-handed tennis. Enough of this primary reader definition.

It is just as vital to play to your partner in tennis as in bridge. Every time you make a stroke you must do it with a definite plan to avoid putting your partner in trouble. The keynote of doubles success is team work; not individual brilliancy. There is a certain type of team work dependent wholly upon individual brilliancy. Where both players are in the same class, a team is as strong as its weakest player at any given time, for here it is even team work with an equal division of the court that should be the method of play. In the case of one strong player and one weaker player, the team is as good as the strong player can make it by protecting and defending the weaker. This pair should develop its team work on the individual brilliancy of the stronger man.

The first essential of doubles play is to PUT the ball in play. A double fault is bad in singles, but it is inexcusable in doubles. The return of service should be certain. After that it should be low and to the server coming in. Do not strive for clean aces in doubles until you have the opening. Remember that to pass two men is a difficult task.

Always attack in doubles. The net is the only place in the court to play the doubles game, and you should always strive to attain the net position. I believe in always trying for the kill when you see a real opening. "Poach" (go for a shot which is not really on your side of the court) whenever you see a chance to score. Never poach unless you go for the kill. It is a win or nothing shot since it opens your whole court. If you are missing badly do not poach, as it is very disconcerting to your partner.

The question of covering a doubles court should not be a serious one. With all men striving to attain the net all the time every shot should be built up with that idea. Volley and smash whenever possible, and only retreat when absolutely necessary.

When the ball goes toward the side-line the net player on that side goes in close and toward the line. His partner falls slightly back and to the center of the court, thus covering the shot between the men. If the next return goes to the other side, the two men reverse positions. The theory of court covering is two sides of a triangle, with the angle in the center and the two sides running to the side-lines and in the direction of the net.

Each man should cover overhead balls over his own head, and hit them in the air whenever possible, since to allow them to drop gives the net to the other team. The only time for the partner to protect the overhead is when the net man "poaches," is outguessed, and the ball tossed over his head. Then the server covers and strives for a kill at once.

Always be ready to protect your partner, but do not take shots over his head unless he calls for you to, or you see a certain kill. Then say "Mine," step in and hit decisively. The matter of overhead balls, crossing under them, and such incidentals of team work are matters of personal opinion, and should be arranged by each team according to their joint views. I only offer general rules that can be modified to meet the wishes of the individuals.

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Use the lob as a defense, and to give time to extricate yourself and your partner from a bad position. The value of service in doubles cannot be too strongly emphasized since it gives the net to the server. Service should always be held. To lose service is an unpardonable sin in first-class doubles. All shots in doubles should be low or very high. Do not hit shoulder-high as it is too easy to kill. Volley down and hard if possible. Every shot you make should be made with a definite idea of opening the court.

Hit down the center to disrupt the team work of the opposing team; but hit to the side-lines for your aces.

Pick one man, preferably the weaker of your opponents, and center your attack on him and keep it there. Pound him unmercifully, and in time he should crack under the attack. It is very foolish to alternate attack, since it simply puts both men on their game and tires neither.

If your partner starts badly play safely and surely until he rounds to form. Never show annoyance with your partner. Do not scold him. He is doing the best he can, and fighting with him does no good. Encourage him at all times and don't worry. A team that is fighting among themselves has little time left to play tennis, and after all tennis is the main object of doubles.

Offer suggestions to your partner at any time during a match; but do not insist on his following them, and do not get peevish if he doesn't. He simply does not agree with you, and he may be right. Who knows?

Every doubles team should have a leader to direct its play; but that leader must always be willing to drop leadership for any given point when his partner has the superior position. It is policy of attack not type of stroke that the leader should determine.

Pick a partner and stick to him. He should be a man you like and want to play with, and he should want to play with you. This will do away with much friction. His style should not be too nearly your own, since you double the faults without greatly increasing the virtues.

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THE PSYCHOLOGY OF MATCH PLAY IN TENNIS

2014-07-02T12:59:00.002-07:00

THE PSYCHOLOGY OF MATCH PLAY IN TENNIS

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 strength, the last gasp of his breath, and the last scrap of his nerve. If you do so and lose, the better man won. If you do not, you have robbed your opponent of his right of beating your best. Be fair to both him and yourself.

"The Play's the thing," and in match play a good defeat is far more creditable than a hollow victory. Play tennis for the game's sake. Play it for the men you meet, the friends you make, and the pleasure you may give to the public by the hard working yet sporting game that is owed them by their presence at the match.

Many tennis players feel they owe the public nothing, and are granting a favour by playing. It is my belief that when the public so honours a player that they attend matches, that player is 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 today owes his public as much as the actor owes the audience, and only by meeting his obligations can tennis be retained in public favour. The players get their reward in the personal popularity they gain by their conscientious work.

There is another factor that is even stronger than this, that will always produce fine tennis in championship events. It is the competitive spirit that is the breath of life to every true sportsman: the desire 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.

The keen competitive spirit that stimulates a match player also increases the nervous strain. This should be recognized by tournament committees, and the conditions of play should be as nearly standardized as weather permits.

The first thing to fix firmly in your mind in playing a match, is never to allow your opponent to play a shot he likes if it is possible to force him to make one he does not. Study your opponent 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 opponent. If he dislikes to meet a netman, go to the net. If he wants you at the net, stay back and force him to come in. If he attacks viciously, meet his attack with an equally strong offensive.

Remember that the strongest defence is to attack, for if the other man is occupied in meeting your attack, he will have less time to formulate his own system.

If you are playing a very steady man, do not strive to beat him at his own game. He is better at it than you in many cases, so go in and hit to win. On the other hand, if you find that your opponent is wild and prone to miss, play safe and reap the full crop of his errors. It saves you trouble and takes his confidence.

Above all, never change a winning game.
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Always change a losing game, since, as you are getting beaten that way, you are no worse off and may be better with a new style.

The question of changing a losing game is a very serious thing. It is hard to say just when you are really beaten. If you feel you are playing well yet have lost the first set about 3-6 or 4-6, 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 might well win the next set. If, however, you have dropped the first set in a 2 out of 3 match with but one or two games, now you are outclassed and should try something else.

Take chances when you are behind, never when ahead. Risks are only worth while when you have everything to win and nothing to lose. It may spell victory, and at least will not hasten defeat. Above all, never lose your nerve or confidence in a match. By so doing you have handed your opponent about two points a game a rather hard handicap to beat at your best.

Never let your opponent know you are worried. Never show fatigue or pain if it is possible to avoid, since it will only give him confidence. Remember that he feels just as bad as you, and any sign of weakening on your part encourages him to go on. In other words, keep your teeth always in the match.

Don't worry. Don't fuss. Luck evens up in the long run, and to worry only upsets your own game without affecting your opponent. A smile wins a lot of points because it gives the impression of confidence on your part that shakes that of the other man. Fight all the time. The harder the strain the harder you should fight, but do it easily, happily, and enjoy it.

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THE PSYCHOLOGY OF PHYSICAL FITNESS

2014-07-01T13:49:00.002-07:00

THE PSYCHOLOGY OF PHYSICAL FITNESS

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 of a big match. This should be taken by nine-thirty. A moderate lunch at about one o'clock if playing at three. Do not eat very rich food at luncheon as it tends to slow you up on the court. Do not run the risk of indigestion, which is the worst enemy to dear eyesight. Rich, heavy food immediately before retiring is bad, as it is apt to make you "loggy" on the court the next day.

It is certain injury to touch alcoholic drink in any form during tournament play. Alcohol is a poison that affects the eye, the mind, and the wind three essentials in tennis. Tobacco in moderation does little harm, although it, too, hits eye and wind. A man who is facing a long season of tournament play should refrain from either alcohol or tobacco in any form. Excesses of any kind are bad for physical condition, and should not be chanced.

"Staleness" is the great enemy of players who play long seasons. It is a case of too much tennis. Staleness is seldom physical weariness. A player can always recover his strength by rest. Staleness is a mental fatigue due often to worry or too close attention to tennis, and not enough variety of thought. Its symptoms are a dislike for the tennis game and its surroundings, and a lack of interest in the match when you are on the court. I advocate a break in training at such a time. Go to the theatre or a concert, and get your mind completely off tennis. Do your worrying about tennis while you are playing it, and forget the unpleasantness of bad play once you are off the court. Always have some outside interest you can turn to for relaxation during a tournament; but never allow it to interfere with your tennis when you should be intent on your game. A nice balance is hard to achieve, but, once attained is a great aid to a tournament player.

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The laws of training should be closely followed before and after a match. Do not get chilled before a match, as it makes you stiff and slow. Above all else do not stand around without a wrap after a match when you are hot or you will catch cold.

Many a player has acquired a touch of rheumatism from wasting time at the close of his match instead of getting his shower while still warm. That slight stiffness the next day may mean defeat. A serious chill may mean severe illness. Do not take chances.

Change your wet clothes to dry ones between matches if you are to play twice in a day. It will make you feel better, and also avoid the risk of cold.

Tournament players must sacrifice some pleasures for the sake of success. Training will win many a match for a man if he sticks to it. Spasmodic training is useless, and should never be attempted.

The condition a player is, in is apt to decide his mental viewpoint, and aid him in accustoming himself to the external conditions of play.

All match players should know a little about the phenomenon of crowd-psychology since, as in the case of the Church-Murray match I related some time back, the crowd may play an important part in the result.

It seldom pays to get a crowd down on you. It always pays to win its sympathy. I do not mean play to the gallery, for that will have the opposite effect than the one desired.

The gallery is always for the weaker player. It is a case of helping the "under-dog." If you are a consistent winner you must accustom yourself to having the gallery show partiality for your opponent. It is no personal dislike of you. It is merely a natural reaction in favour of the loser. Sometimes a bad decision to one play will win the crowd's sympathy for him. Galleries are eminently just in their desires, even though at times their emotions run away with them.

Quite aside from the effect on the gallery, I wish to state here that when you are the favored one in a decision that you know is wrong, strive to equalize it if possible by ostentatiously losing the next point. Do not hit the ball over the back stop or into the bottom of the net with a jaunty air of "Here you are." Just hit it slightly out or in the net, and go on about your business in the regular way. Your opponent always knows when you extend him this justice, and he appreciates it, even though he does not expect it. Never do it for effect. It is extremely bad taste. Only do it when your sense of justice tells you you should.

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The crowd objects, and justly so, to a display of real temper on the court. A player who loses his head must expect a poor reception from the gallery. Questioned decisions by a player only put him in a bad light with the crowd and cannot alter the point. You may know the call was wrong, but grin at it, and the crowd will join you. These things are the essence of good sportsmanship, and good sportsmanship will win any gallery. The most unattractive player in the world will win the respect and admiration of a crowd by a display of real sportsmanship at the time of test.

Any player who really enjoys a match for the game's sake will always be a fine sportsman, for there is no amusement to a match that does not give your opponent his every right. A player who plays for the joy of the game wins the crowd the first time he steps on the court. All the world loves an optimist.