Tennis proselytises a central vision — or, perception — with an inter-subjective background. Of a canvas that provides several contexts in which art, science, the players, and the viewer alike, ‘float’ in the mind.
This does not, in any way, mean that great tennis players parachuted to earth, with a racquet in hand. The truth is: tennis greats have been shaped, even as they ‘formed,’ in a culturally intense background. Tennis legend Pete Sampras was a classic example of such an outlook — an artist who shaped the art of tennis like no other.
Sampras’ tennis was itself a rendering of being one with the cosmos — a primal constituent in the overall nature of art. His game was actual conception, in thought and action — of perspectives taken into account and also positions it attempted to integrate in order to witness how deep and wide it was.
Sampras’ tennis was, in essence, akin to a Zen master’s vow to refuse rest until all viewpoints were liberated into their own primordial nature. Of more than a brace of keynotes, also rationality — or, visionary logic — that integrated, or co-ordinated, different perspectives. It was the gateway too through which stable psychic, subtle, or causal stages of tennis excellence, with all their capacity to being one with nature evolved, so that the ‘spiritual’ line could expand and include the welfare of a global activity, regardless of race, gender, colour, or creed.
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