Whatever its merits, the first draft of the book, containing all but three of the eleven sections, much of Lawrence’s research material, and many of his photographs, was either lost or stolen from him in Reading Station late in 1919—a catastrophe that can only have added to his depression. Although the full text of Seven Pillars of Wisdomwould never be published in any conventional way in Lawrence’s lifetime (he went to enormous trouble and expense, as we shall see, to produce his own limited subscription edition, and to protect the copyright in Great Britain and the United States), Lawrence had occasionally handed the manuscript to his friends for their suggestions or corrections—at least four people seem to have read it in handwritten form. That explains why he sent or gave his only copy to Lieutenant-Colonel Alan Dawnay, who was then posted to the Royal Military College at Sandhurst. Lawrence went down to get his friend’s opinion and corrections, and to go back to Oxford with the manuscript. So many versions of what then happened have been related, some of them fanciful, that it has become part of Lawrence’s legend. These include the possibility that Lawrence may have “lost” the manuscript deliberately, in other words, abandoned it; that it was stolen by an agent of the British or French secret service to ensure it would never be published; and that the incident was totally fabricated by Lawrence, presumably out of morbid vanity or to add a note of drama to the writing of the book. All these theories are unlikely—Lawrence was genuinely distraught, and Hogarth was horrified when he heard of the loss.

The truth is quite simple: Lawrence had neglected to bring a briefcase with him to carry the manuscript, so Dawnay lent him an “official” one. Such a briefcase does not resemble a bank messenger’s bag, as has been suggested, but is made of black leather, with the royal coat of arms stamped on the front flap in gold—quite an impressive-looking object. Obliged to change trains at Reading, Lawrence waited in the station cafй, and when his train was called he boarded it without picking up the briefcase, which he had placed under the table. Despite great efforts, the case was never found or returned.

It may of course be true that Lawrence had a subconscious desire to lose it, though this seems rather far-fetched; and it certainly seems odd that a thief would pick up the briefcase, examine the contents, and not think in terms of returning it for a reward—but then, we have no way of knowing whether the manuscript had Lawrence’s name and address on it. In any event, it vanished. Lawrence’s initial reaction was hysterical laughter, perhaps to avoid tears. Of course it may seem odd today to give the only copy even to so trustworthy a friend as Alan Dawnay, but in those days the only way to copy a handwritten manuscript was by photographing every page. Hence most writers either typed a copy and a “carbon” or hired a typist to do it. Oxford must have been full of such typists, given the number of theses and manuscripts being written there, but Lawrence may not have wanted to be bothered hiring one, or may have felt it was too expensive.

There seems to have been no doubt in his mind that he would start from scratch and write it all over again, and Hogarth urged on him the importance of doing just that. By this time, Lawrence seems to have been fed up with All Souls, or more likely with his mother, since he spent more of his nights at Polstead Road than at All Souls, and he accepted the offer of Sir Herbert Baker, a distinguished architect he had met, to lend him the top floor of a building Baker rented in Westminster for an office. Sitting down to reconstruct a whole book would be a grueling and daunting task for anyone, but Lawrence made it an exhausting and physically punishing marathon, perhaps because only by turning it into a physical and mental challenge could he force himself to do it at all. He wrote at an incredible pace, producing “95% of the book in thirty days,” sometimes writing thousands of words at a sitting, and eventually completing more than 400,000 words. At one point he wrote 30,000 words nonstop in twenty-two hours, possibly a world’s record. It is almost impossible to keep straight the number of parts that Lawrence wrote—he called these parts “books,” and their number varies from seven to ten. Some of the books he would revise again and again over the next six years, particularly Book VI, which describes the incident at Deraa.

Probably no part of Seven Pillars of Wisdom,even the pages about Deraa, gave Lawrence more trouble than the dedication of the work, which he went to endless pains to get right. He not only wrote it over and over again, but—unsure whether it was prose or poetry—gave it to his young friend Robert Graves, already an admired war poet, to help him turn it into blank verse, and submitted it to at least one other poet for advice. Despite changes made by Graves, it is what it is, neither fish nor fowl, at once awkward and deeply moving:

To S.A.I loved you, so I drew these tides of men into my hands and wrote my will across the sky in starsTo earn you Freedom, the seven pillared worthy house, that your eyes might be shining for meWhen we came.Death seemed my servant on the road, till we were nearand saw you waiting:When you smiled, and in sorrowful envy he outran meand took you apart:Into his quietness.Love, the way-weary, groped to your body, our brief wageours for the momentBefore earth’s soft hand explored your shape, and the blindworms grew fat upon Your substance.Men prayed me that I set our work, the inviolate house, as a memory of you.But for fit monument I shattered it, unfinished: and nowThe little things creep out to patch themselves hovels in the marred shadow Of your gift. The identity of S.A. has stirred up controversy ever since the book first appeared in print, partly because Lawrence was deliberately mysterious. It has been suggested that the dedication is to Sarah Aaronsohn, a courageous Jewish spy who committed suicide after being captured and tortured by the Turks; or to Fareedeh el Akle, Lawrence’s teacher of Arabic. Since Lawrence never met Sarah Aaronsohn, and since Fareedeh el Akle lived on to great old age denying that Lawrence had dedicated the book to her, neither theory is plausible. Lawrence himself further confused the matter by saying that S.A. represented both a person and a place; but it seems self-evident from the context that the dedication is to

Dahoum, his friend in Carchemish before the war, and that it expresses not only Lawrence’s love for Dahoum but his bitter regret that Dahoum did not live to see the victory.

The first four lines also suggest a very unusual degree of grandiloquence for Lawrence: “I drew these tides of men into my hands” and “wrote my will across the sky in stars” are an usually direct claim to Lawrence’s authorship and leadership of the Arab Revolt, in contrast to his usual practice of giving full credit to other people. If they represent his real feelings—as they may, since the dedication is evidently to Dahoum—this is one of the few places where Lawrence lets his real self and his pride show through, an unexpected moment when the hero appears without apology or disguise.

Like many great works of literature Seven Pillars of Wisdomis a product of an intense obsession, driven first by Lawrence’s need to explore and explain his own role in the Arab Revolt, and second by his need to portray the revolt as an epic, heroic struggle, full of larger-than-life figures (Auda Abu Tayi, for instance) and noble motives (those of Feisal particularly). Also as with many of the world’s great books, the author was unwilling to give it up, or stop changing and revising it. Seven Pillars of Wisdomremained a work in progress until 1927, and even today is still available in two different versions. Although Lawrence was scrupulously accurate about himself, in this book he approached the Arabs in much the same spirit as Shakespeare approached the English in Henry V,determined to make his readers see them as he did—as glorious figures, inspired by a great ideal. When parts of the story did not reflect this, he played them down as much as possible.