When the Shaws were persuaded to visit Lawrence in his cottage, as the Hardys and E. M. Forster did, Bernard Shaw remarked, perceptively, that Lawrence’s pretense of living “humbly with his comrades” as “a tanker-ranker” was misleading, and that surrounded by his army friends at Clouds Hill “he looked very much like Colonel Lawrence with several aides-de-camp.”

Soon after meeting Lawrence, Shaw described him as “a grown-up boy,” and there is an element of truth to this: both as regards Lawrence, many of whose interests and tastes (motorcycles, for example, or the tiny, cozy cottage, with sleeping bags coyly marked Meumand Tuam)remained boyish, and who scrupulously avoided any of the adult entanglements of love, marriage, and domesticity; and as regards Shaw’s own relationship to him, which was that of an exasperated father. Lawrence had not only adopted Shaw’s name as his own, but found in the name of the village where the Shaws lived, Ayot Saint Lawrence, a kind of portent. Lawrence’s visits to the Shaws throughout 1922 and 1923 had made him, to all intents and purposes, almost a member of the family, and also gave him the unusual opportunity of sharing in the creation of one of Shaw’s best plays, Saint Joan.His visits were curtailed when one of his fellow privates borrowed his motorcycle and crashed it, but he soon managed to acquire another Brough, and in the meantime remained in constant correspondence with both Shaws.

Occasionally, Public Shaw launched a Jovian taunt at Private Shaw: “I have written another magnificent play. When I finish a play, I write another: I don’t sit down gloating in a spectacular manner over how the old one is to astonish the world. Yah!” Nevertheless, Charlotte sent Lawrence the draft acting script of Saint Joan,and Lawrence responded— boldly—with a long, detailed letter of suggestions to the great man. He answered via Charlotte, though he must have been aware that she would show the letter to her husband. He did not comment on the way Shaw had made use of his character and career in creating the part of Saint Joan herself. Like Lawrence, Joan had fought a powerful army to place a king “upon the throne of a nation-state"; like Joan, Lawrence had succeeded against the odds, and had then been dismissed (as she was martyred); like Joan, Lawrence combined unearthly courage with the ability to inspire men to follow him, and invented unorthodox military tactics that confounded the professionals; like Joan’s, Lawrence’s small size, humility, and modesty, whether real or feigned, did not prevent him from being the center of all attention wherever he went; and like Joan, he adopted a costume that separated him from his own countrymen—he went barefoot, in the robes of an Arab, and she wore the armor of a man. Even Joan’s way of expressing herself in the play resembles Lawrence’s—Shaw was nothing if not observant in pursuit of a character. In the words of Michael Holroyd, Shaw’s biographer, “With their missionary zeal to mould the world to their personal convictions, Joan and Lawrence were two small homeless figures elected by the Zeitgeist and picked out by the spotlight of history.” The comparison intrigued Shaw from his first meeting with Lawrence and gave him the key to creating a Shavian heroine who was at once saintly and proud, modern and medieval, as well as a deeply androgynous figure.

Lawrence was courageous enough to criticize one scene as “adequate” and another as “intolerable.” But on the whole he liked the play, and he praised the fifth act as “pure genius,” though several people have felt that Saint Joanwould have ended better without it (among these were Lawrence Langner and the Theater Guild, producers of the play in New York, who were afraid the audience members would miss their last train home). Lawrence pointed out that Shaw “doesn’t know how men who have fought together stand in relation to one another,” and gave him some sensible suggestions. Once the play had opened, Lawrence went to see it in London, and wrote to Charlotte of Sybil Thorndyke’s performance as Joan, “There isn’t as much strength in Joan … as I had gathered in reading her,” but added that since he had made the role and the text his, in his mind, “there was a little resentment at having others’ interpretations thrust on my established ones.”

Although Lawrence never enjoyed his years in the army as a private, one senses, in 1923 and 1924, not so much a softening of his attitude as an increasingly busy social and intellectual life that kept his mind off it. He was often in London, and was once even invited to a dinner to celebrate Armistice Day, given by Air Chief Marshal Trenchard. Lawrence accepted provisionally:

I’d like to very much: but there are two difficulties already in my view:

It is Armistice day, and I do not know if leave will be given.

I have a decent suit, but no dress clothes at all.The leave I will ask for….The clothes are beyond my power to provide: and I fear that Lady Trenchard might not approve a lounge suit at dinner….Please ask her before you reply. In the event, Lawrence attended the dinner at the Army and Navy Club in uniform, surely the only private soldier in the British army to be dining that evening with the equivalent of a four-star general. Again and again, there are instances of Trenchard’s breaking the rules for Lawrence. He called General Chetwode, the army adjutant-general, to arrange for special leave for Lawrence, and called again, in a rage, because Lawrence, who was on the defaulters’ list for having missed a parade in order to accept an invitation to tea from Thomas Hardy, was unable to meet him at the Air Ministry. Despite Lawrence’s complaints, there was no lack of powerful friends smoothing his path, and no hesitation on his part in asking them to do so.

Nor was there a lack of glamorous job offers. Sydney Cockerell tried to persuade Lawrence to accept the post of professor of English literature at Tokyo University, a position of some prestige; and Trenchard gave him a chance to complete the official history of the Royal Flying Corps in the 1914-1918 war, since the author of the first volume, Sir Walter Raleigh,had died leaving four or five volumes to go. Hogarth had given the job a try, but he was suffering from “all sorts of minor ailments,” as well as diabetes, and the air war was no great interest of his. Here, surely, was a job Lawrence could do superbly—and without having to leave England—but he turned it down, because he did not want the responsibility, and offered it instead to Robert Graves, who, with a wife, children, and a mistress, was in great need of money. But Graves also declined what Lawrence described as “a three-year job, worth Ј600-Ј800 a year,” an optimistic guess, since the completion of the official RFC history would, in fact, take another twelve years.

Although Lawrence still shrank from the prospect of letting people read Seven Pillars of Wisdom,he had made the important step of putting its financing in the hands of Robin Buxton, a friendly banker, who as Major Buxton had led an Imperial Camel Corps unit of 300 men in support of Lawrence during the latter part of the war. Buxton was a rare type—an unflappable banker, endowed with energy, common sense, and a real affection for Lawrence; and Lawrence seems to have put together a “brain trust,” consisting of Alan Dawnay, Hogarth, and Lionel Curtis, to advise him on how many copies to print and what to charge. He was, as usual, an infuriatingly difficult author. He wrote to Buxton: “I’d rather the few copies: I had rather one copy at Ј3,000 than 10 at Ј300, or 30 at Ј100 or 300 at Ј10….1 hate the whole idea of spreading copies of the beastly book.” All this, of course, was still based on the notion that the whole job could be done for Ј3,000, which was hopelessly optimistic. At the same time, Lawrence decided that for moral reasons he should not make any money from the book, and gave up any claim to royalties. His choice of using the Oxford University Press to set the type was thwarted when it backed out, fearing the libel problems in the text. Lawrence eventually settled on hiring his own printer, an American named Manning Pike recommended by the artist Eric Kennington. Although this was his first attempt to design and set a book, Pike was a craftsman-artist after Lawrence’s heart. Still, Pike soon became a martyr to Lawrence’s cranky ideas about typography, a legacy of his passionate admiration for William Morris. Lawrence cut and changed the text to make paragraphs end on a page, to eliminate “rivers” of white space in the type, and to eliminate “orphans” (small pieces of text at the end of a paragraph). Lawrence’s interest in typographical design soon became obsessive, and without a publisher like Cape or an editor like Garnett to control expenses, he began altering his text merely for the sake of its appearance on the page—Pike was, after all, in no position to contradict him. “The business will be done as crazily as you feared,” Lawrence wrote to Shaw, and he was not exaggerating. Shaw’s own ideas about spelling, punctuation, and typesetting were at least as cranky as Lawrence’s, but his business sense was far sounder; he squeezed the maximum amount from his publishers, and was horrified that Lawrence proposed to forgo any profit from his book. Leaving his brain trust to find the necessary number of subscribers, Lawrence proceeded to have plates made of the illustrations and pay for the typesetting equipment Pike needed. He went through at least one more nerve-shredding round of revising the text, and then did so again as Pike began to produce proof sheets. This time he was aided, or perhaps hampered, by Shaw’s detailed suggestions and advice (followed shortly by Charlotte’s somewhat more timidly expressed ones), which finally arrived like a bombshell two years after Lawrence had first sent him the book: