In Bruce’s account, Lawrence hatched a story that contained just enough truth to sound plausible. He had borrowed from friends and from “a merchant bank” money that he could not repay, and had gone to a wealthy uncle, the “Old Man,” who had inherited money that ought to have gone to Lawrence’s father. The Old Man “called him a bastard not fit to live among decent people,” who had “turned his back on God, lost an excellent position at the Colonial Office, become financially involved ‘with the damned Jews,’ insulted a Bishop and insulted King George at Buckingham Palace.” That Lawrence was “a bastard” was true, and many people did wrongly believe that he had insulted the king by refusing to accept his decorations. The story about the bishop involved an altercation between the Anglican bishop of Jerusalem and Lawrence over Jewish immigration, which had led Lawrence to declare indignantly that the bishop was not fit “to black Weizmann’s boots.” In short, Lawrence trolled through his life to find and adapt to his purpose stories that might persuade an elderly relative to punish him. More important, they were stories about acts that Bruce might believe were both reprehensible and true.

Lawrence claimed that his “uncle” was intent on saving the family honor—one of the “threats” Lawrence invented was that if he didn’t do exactly as the Old Man demanded, down to the smallest detail, “a meeting of the family would have to be called to see what was to be done with him.” This was well calculated to appeal to Bruce, who had a strong sense of family and who respected his milkman father in Aberdeen. The character that Lawrence apparently created for the Old Man is interesting. So far as one can judge, it resembled no male relative Lawrence knew, certainly not his father, whom Lawrence remembers as having stopped once when Ned was a child to upbraid a carter for whipping a horse. In reading Bruce’s account of what Lawrence had to say about his “uncle,” it seems more than likely that Lawrence built up his character from that of his mother, and merely switched genders, since Bruce was more likely to accept a male authority figure. The old Man’s strict moral judgment, his unforgiving sense of right and wrong, his absolute conviction that he knew what was best for Lawrence, and his belief in the value of punishment, pain, and discipline are exactly the qualities that Lawrence found so difficult to accept in his mother. The criticism of his own conduct that Lawrence imputes to the Old Man is exactly what his mother would have said, and the old Man’s power to influence and interfere with Lawrence’s life is what kept him away from home as much as possible.

The intensity with which Lawrence won Bruce’s compliance and his determination that Bruce must agree to do whatever the Old Man told him to do are both impressive and frightening. Lawrence was creating a detailed and plausible fictional world, and assigning Bruce a role in a psychodrama, which would continue off and on until the end of Lawrence’s life. Bruce later professed to have been shocked when Lawrence mentioned that the Old Man might call on him to inflict “corporal punishment,” but this was surely face-saving on Bruce’s part nearly half a century after the fact. It seems much more likely that Bruce guessed what Lawrence wanted from the beginning.

The first of the whippings Bruce claimed to have given Lawrence took place in Clouds Hill, the tiny brick cottage whose roof would soon be replaced. (Lawrence paid for the new roof by selling the gold dagger* he had bought in Mecca.) Lawrence was still elaborating on the fantasy that was intended to give him control over Bruce. The Old Man, he told Bruce, was disappointed because Lawrence had missed church parades, and had dispatched a bircht† with which Lawrence was to be whipped. This time Lawrence backed up the request with “an unsigned, typed letter which he said was from The Old Man,” instructing Bruce that he was not only to carry out the whipping, but “to report in writing … [and] to describe Lawrence’s demeanour and behaviour under punishment.” Bruce, the letter promised, would be paid for the whipping. These whippings (and the payments) would be continued at infrequent intervals over the next twelve years, and step by step the letters from the Old Man grew in terms of the complexity of his demands, his requests for accurate reports of Lawrence’s reaction, and the loving details of the instruments of punishment to be used. Each of these letters was of course written with great care by Lawrence himself, prescribing down to the last detail the punishments that were to be inflicted on him. When the Old Man requested a reply from Bruce, Bruce handed his letter to Lawrence, for forwarding.

Lawrence, after his beating at Deraa, had been able to remember every detail of the “Circassian riding whip” which was used on him: “tapering from the thickness of a thumb at the grip (which was wrapped in silver, with a knob inlaid in a black design) down to a hard point much finer than a pencil.” In the letters Bruce claimed to have received from the Old Man, Lawrence was just as precise, even fussy, in describing the details of what he wanted, how it was to be done, and what it was to be done with. It is, in fact, an amazing work of fantasy, backed up with carefully forged letters that were designed to convince Bruce, and succeeded. The letters may have been overkill—there is no evidence that Bruce needed anything like this much persuasion—but their tone is very revealing. It is that of “Colonel Lawrence,” direct, explicit, a person of the officer class who expects obedience from a social inferior. Nowhere is it clearer that “Colonel Lawrence” was still alive and well, than in these bizarre letters. “Private Meek,” as Bernard Shaw would call him in Too True to Be Good,treated Bruce with kid gloves—for Bruce was a difficult and demanding character. But the former lieutenant-colonel gave Bruce the commands, which, except for their subject matter, read like those a wealthy landowner might send to a farm manager. The letters Lawrence wrote as the Old Man are works of genius—with Dickensian skill, he managed to create, layer by layer, detail by detail, a crusty, demanding, difficult character whom one might almost expect to see in the next seat in a first-class railway compartment on the way “up” to London—neatly suited; his bowler hat, gloves, and umbrella beside him; with a regimental tie, a white mustache, and a monocle; reading the Timeswith furious concentration—a figure straight out of an Osbert Lancaster cartoon.

The combination of the cottage and Bruce made the army almost bearable for Lawrence, although he never grew used to wearing the hated khaki uniform or to the mindless violence and profanity of his fellow soldiers. He seldom spent a night in the cottage—he used it instead as a refuge during his ample spare time, and took a few friends there, like Bruce and Corporal Dixon. Over time, he added a phonograph, a radio, a library of books—in size, in austerity, and as a place to work it became the exact equivalent of the small cottage his parents had built for the young Lawrence in the garden of their house. It was not Lawrence’s home in any conventional sense—as E. M. Forster pointed out, “it was rather his pied-а-terre, the place where his feet touched the earth for a moment, and found rest.” The army made few demands on Lawrence and he was thus able to devote a good deal of time to the project of printing a limited edition of Seven Pillars of Wisdom.In addition he had his weekends free for a social life far more intense and well-connected than that of any other private soldier in the British army.

During this time, the Shaws became central figures in Lawrence’s life, and Robert Graves introduced Lawrence to Thomas Hardy, who lived near Bovington, in Dorsetshire—"Hardy country,” where many of his novels are set. The Hardys too became close friends, and their home, Max Gate, was another place of escape for Lawrence. Other friends in this period included the Kenningtons, the novelist E. M. Forster, the poet Siegfried Sassoon, Lionel Curtis, and John Buchan. Any portrait of Lawrence that fails to reflect his extraordinary gifts for friendship, conversation, and correspondence fails to reflect the man. Monastic and self-punishing as he might be, Lawrence was the very reverse of a military version of a cloistered monk; he was instead constantly on the move, constantly engaged with people, invited everywhere. Hardy, like Doughty, he came to admire and love. “Hardy is so pale,” he wrote, “so quiet, so refined in essence: and the camp is such a hurly-burly. When I come back I feel as if I’d woken from a sleep: not an exciting sleep, but a restful one…. It is strange to pass from the noise of the sergeants company into a peace so secure that in it not even Mrs. Hardy’s tea-cups rattle on the tray.”