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Mlle。 Brocadies； once the idol of the Paris tennis public。 This remarkable
player has as perfectly developed a game as I have seen。 Her actual
stroking is the equal of Mlle。 Lenglen。 Her strokes are all orthodox； flat
racquet ones。 Her ground game is based wholly on the drive； fore… or
backhand。 She has grown rather heavier in the last few years and
consequently slowed up； but she is still one of the great players of the
world。
England
In marked contrast to the eccentricities of Mlle。 Lenglen one finds the
delightfully polished style of Mrs。 Lambert Chambers。 Mrs。 Chambers has
a purely orthodox game of careful execution that any student of the game
should recognize as the highest form of tennis strokes。
Mrs。 Chambers serves an overhead delivery of no particular movement。
She slices or 〃spoons〃 her ground strokes； forehand or backhand。 She
seldom volleys or smashes。 Her only excursions to the net are when she is
drawn to the net。
It is not Mrs。 Chambers' game itself so much as what she does with it；
that I commend so highly。 Her change of pace and distance is wonderfully
controlled。 Her accuracy marvellous。 Her judgment is remarkable； and the
way in which she saves undue exertion is an art in itself。 She gets a
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wonderful return for her outlay of effort。
Hers is a personality of negation。 Her manner on the court is negative；
her shots alone are positive。 She is never flustered； and rarely shows
emotion。
Mrs。 Chambers is the 〃Mavro〃 of women as regards her recovering
ability。 Her errors are reduced to a minimum at all times。 To err is human；
but at times there is something very nearly inhuman about Mrs。 Chambers'
tennis。
ELIZABETH RYAN
The English…American star Elizabeth Ryan is another player of marked
individuality。 Born in California； Miss Ryan migrated to England while
quite young。 For the past decade 〃Bunny；〃 as she is called； has been a
prominent figure in English and Continental tournaments。
Miss Ryan has a queer push…reverse twist service that is well placed
but carries little speed。 She chops viciously forehand and backhand off the
ground and storms the net at every opening。 Her volleying is crisp and
decisive。 Overhead she is severe but erratic。 She is a dogged fighter； never
so dangerous as when behind。 Her tactics are aggressive attack at all times；
and if this fails she is lost。
Although Miss Ryan is an American by birth she must be considered
as an English player； for her development is due to her play in England。
MRS。 BEAMISH
This English player is an exponent of the famous baseline game of the
country。 She drives； long deep shots fore… and backhand； corner to corner；
chasing her opponent around the court almost impossible distances。 Her
service volleying and overhead are fair but not noteworthy。 Another player
of almost identical game and of almost equal class is Mrs。 Peacock；
Champion of India。 Her whole game is a little better rounded than Mrs。
Beamish； but she lacks the latter's experience。
Among the other women in England who are delightfully original in
their games are Mrs。 Larcombe； the wonderful chop…stroke player； whose
clever generalship and tactics place her in the front rank； and Mrs。 M'Nair；
with her volleying attack。
Women's tennis in England is on a slightly higher plane at this time
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than in America； but the standard of play in America is rapidly coming up。
International competition between women on the lines of the Davis Cup；
for which a trophy has previously been offered by Lady Wavertree in
England； and in 1919 by Mrs。 Wightman in America； and twice refused by
the International Federation； would do more than any other factor to place
women's tennis on the high plane desired。 This plan has succeeded for the
men； why should it not do as well for the women？
ILLUSTRATION CAPTIONS
｛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 on
the front or left foot； having passed from the right foot with the swing； just
at the moment the ball is struck。 The racquet is carried to the limit of the
swing and falls into the left hand at height of the shoulder。 The racquet
face has passed over the ball。 The reader is looking through the strings。
The stroke was made with the far side of the racquet from the camera。 The
eye is following the ball in its flight。 The whole movement is forward。 The
tendency in hitting a forehand is to stop the swing too soon。 Notice the full
follow through to the extreme limit of my swing。 The hitting plane in this
picture is too high； the shot having been made almost at the shoulder。 The
correct hitting plane for the forehand drive is along the line of the waist。
Play all drives at this height if possible。 Step back to allow the ball to fall
waist high if necessary rather than play it at the shoulder。 Hit your
forehand drive decisively but do not attempt to kill every shot。 Be accurate
first and attain speed second。｝
｛PLATE IV。 BACKHAND GRIP。 FRONT VIEW。 Note the hand on
top of the racquet handle； yet retaining the straight line of arm； hand and
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racquet Is in the forehand。 The change from the forehand grip is one
quarter circle of the handle。 The knuckles are up and directly towards the
opponent。 The head of the racquet is advanced slightly towards the ball。
BACKHAND GRIP。 BACK VIEW。 Notice the line of arm and racquet
is straight and the hand on top of the handle。 The thumb in my