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STRUGGLE AGAINST THE INTROJECTS *
By
GUSTAV BYCHOWSKI, M.D.,
In previous communications I have studied
various aspects of the complex relationship
between the ego as a total field of organized
forces, and the internal images, resulting from
early introjections.
From the point of view of general homeo-
stasis, an ideal condition is achieved when the
essential introjects become completely assimi-
lated and integrated into the ego. However,
such an ideal situation is hardly ever attained
in view of intense ambivalent hypercathexis of
the original internalized images. Thus, the ego
develops various reactions in its constant
attempts to achieve the impossible task of com-
plete integration.
In the course of this struggle sectors of the
ego consisting, as it were, of introjected images,
become externalized and clustered around real
persons. Between the latter and the ego
reactions develop duplicating some of the
original situations prevailing between the infan-
tile ego and its main objects.
This parallelism could be demonstrated in
analysis of male homosexuality, latent and
manifest schizophrenia (1). An important
concept that emerged in the course of these
investigations was the externalization of various
aspects of the self. In this process they, too,
having become fused with various aspects of
the original objects, became externalized together
with them, so that, for instance, in male homo-
sexuality the homosexual partners proved to be
substitutes not only for the parental objects but
for the self as well.
Former studies have demonstrated the in-
destructibility of original images in the ego
field of certain individuals. Yet the amount of
aggression directed toward these objects by an
ego, overflowed by strong ambivalence (original
as well as a result of defusion of instinctual
drives), forces the ego to attempt various forms
of struggle which, basically, cannot change the
situation. Despite the compulsion with which
.. Paper read before the 20th Congress of the International Psycho-Analytical Association, Paris, July-
August, 1957.
182
NEW YORK
the ego repeats these attempts at destruction,
the internalized objects do not cease to exist and
to exert their power. Thus, the ego is compelled
to act out its destructive impulses indefinitely.
In view of this basic situation, the ego, inevit-
ably, becomes self-destructive. The attempts
to do away with the object may be followed by
the attempt to replace it once more by an even
more powerful introjected image. Subsequently,
the wish to destroy the original object may lead
to even more self-destructiveness, so that
destructive acting out inevitably results in self-
destructive activities.
Clinical illustrations for these reaction patterns
may be gathered from the analysis of patients
belonging to various clinical groups.
In the analysis of depression one may observe
the attempts of the ego to reinstal the introjects
which have become threatened by the analytical
process. The image of the analyst, fused with
some of the original imagos, is being made the
object of destructive impulses which, at the same
time, turn against the self of the patient and
produce a temporary deepening of the depres-
sion with the flaring up of suicidal impulses. In
his dreams he may show himself filled with
partial introjects, of which then he tries to rid
himself by acts of externalization. A female
patient dreamt that her vagina was filled with
books and phallic symbols as representatives of
both her father and her analyst. She then
proceeded to eliminate them, in fantasy, by the
way of the genital, anal, and oral orifices.
Another female patient who in her fourth year
of age had lost her father and had introjected his
legs, which were paralysed as a result of his
illness, reactivated these processes and ex-
perienced pains and weakness in her legs. This
was accompanied by outbursts of destructive
acting out towards her husband and her analyst,
both acting as substitutes for the paternal imago.
Finally, a male patient, whom I have described
at some length in a previous study, was re-
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STRUGGLE AGAINST THE INTROJECTS 183

experiencing in his analysis in an almost episode are not other young men but Albertine's
hallucinatory way the re-emergence of introjects numerous girl friends, the various •jeunes filles en
of both parents and an older brother. In fleurs '.
identifying them in a next stage with his analyst, The same substitution of sexes has been used by
he was trying to liberate himself from them by Proust in the episode of Mademoiselle Vinteuil. A
recent publication by Leon Quint, one of the most
the way of destructive acting out towards his
penetrating Proust experts, discloses that in this
wife and his analyst. Such outbursts were scene Proust really described in a camouflaged way
inevitably followed by a bout of depression. his own acts of blasphemous profanation directed
They were preceded, however, by flashes of towards his beloved mother, who at that time had
paranoid hostility directed against the living been dead for many years. At a time when his
substitutes of the original imagos: in such advanced illness kept him tied to his bed and
moments his wife and his analyst played the allowed him only rare trips into the City, he would,
role of persecutors (2). on such excursions, visit a hotel kept by one of his
I shall now proceed to demonstrate some of former male lovers and would engage in homosexual
my points by a few remarks on two illustrious practices with professionals supplied by the hotel
owner. An important requisite of these orgies was
artists whose biographical data are, I am sure,
a portrait of his mother, the profanation of which
familiar to all of us. was a part of a ceremony prepared in advance.
Well known is the intense, deep, and tender Visiting this hotel and its clients had become an
attachment binding Proust and his mother. Every obsession and he was aware that he could be
reader of A fa Recherche du temps perdu remembers liberated from it only by his own disappearance (4).
the initial description of the author as a little boy In this way Proust was defying his beloved imago,
lying in bed and anxiously awaiting his mother to was defiling it in a desperate attempt to do away
give him the last good-night kiss. However, this is with its powerful, indestructible impact.
only one among innumerable illustrations of Toulouse-Lautrec is another example of an artist
Proust's more than usual attachment to his mother. who was trying in vain to cope with his parental
In addition, his correspondence abounds in direct introjects in a way which proved self-destructive.
demonstrations of this intense and complex affec- Here, too, as in my former illustration, I shall
tion. We know to what an extent Proust relied not gather only a few well-known facts to illustrate my
only in childhood and adolescence, but far into his point.
adult years on the tender care and solicitude of his Henri, a descendant of an old aristocratic stock,
mother: certain elements of his sickness can most son of a tender and devoted mother and a proud
likely be directly related to the secondary gain and despotic father, breaks his legs at the age of 13
which he derived from her unrelenting tenderness. and, as a result of this accident, never grows up,
Now one of the most poignant and, I would say, presenting an ugly shape of a manly torso on short
tragic scenes in La Recherche is the description of legs. By birth and position he was destined for the
perverse sexual practices acted out by Mademoiselle carefree existence of a wealthy aristocrat, sure of
Vinteuil with her female lover in the presence of worldly success and devoted to sport and outdoor
a portrait of her loving father, the great musician. life. His father was a great horseman and falconer.
Hateful and truly blasphemous profanation of her As a first consequence, his infirmity interfered
father is a most important element of this extra- with his athletic aspirations. His father never
ordinary scene. forgave his only son this shattering of his fondest
It is well known that Proust used the substitution hopes and ambitions, nor did the artist himself ever
of sexes as a frequent device in his work, not unlike come to terms with his frustration.
Whitman who, in his poem • Once I Passed through His first drawings and sketches known to us
a Populous City' spoke wistfully of a beautiful represent boats and horses. He drew or painted
woman who was the only human being he remem- them, while pinned down to his bed convalescing
bered following his stay in New Orleans: yet in the on the Riviera under the loving care of his mother,
first, never published version of this poem we find after the first accident. We should not overlook the
instead a man (3). symbolism of the boat with its strong maternal
In perfect analogy, Albertine, the heroine of the meaning, while the horse would, of course, stand
famous episode (filling two volumes of Proust's for a symbol of the father.
work), the elusive young girl whom the author His fascination with movement continued all
pursues with so much anguish and longing, who through his mature years. He was a frequent
provokes in him most burning pains of jealousy and visitor to the race tracks and the velodrome, the
who, after being made • prisoner' by him, finally bicycle at that time being a most fashionable novelty.
escapes forever is but a disguise for one of his more The artist loved to watch the dancing at the Moulin
important homosexual attachments. Incidentally, Rouge, the bullfights and the skating ring, and took
the reader will remember that Proust's rivals in this in with delight performances at the circus. The near
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184 GUSTAV BYCHOWSKI
future was to show how deeply Lautrec enshrined in
his mind the impressions gained at the circus. His
famous cycle, under this title, came into being during
his first hospitalization for alcoholic delirium.
Finally, and perhaps most pathetically, we are
reminded of the artist installing in his studio a
rowing machine with mobile seats and practising
rowing for hours, attired in a captain's cap and a
shirt of bright red flannel.
The choice of his living quarters was symbolic of
his deep conflicts and of his misery. For many years
he used to divide his address between an apartment
adjacent to his mother and some well-known houses
of prostitution. His interest in and fascination by
the representatives of the oldest profession has
enriched us with some of his finest paintings, among
others, the famous cycle "Elles '. Paintings of
courtesans outweigh by far pictures of society
women, among which there are a few tributes to his
mother.
There was, of course, an important element of
defiance in this openly displayed cult of the courte-
san: Lautrec delighted in giving the address of a
brothel as his own, especially to some distinguished
visitor. He accepted the commission to decorate
one of the maisons closes with murals, as though in
mockery of places which would usually be so
adorned: an aristocratic palace or a chapel. It
seems that in this way the artist could defy and
defile the imago of his devoted and beloved mother,
the mother to whom he wrote shortly before his
death: 'Now I belong completely to you. I know
that I am going to die.'
Evidently, his way of life with all the scandals it
involved was a constant offence to his aristocratic
father, the proud bearer of one of the oldest names
in France. Yet we know that in his childhood he
admired the Count, and copied and painted his
photograph. From the place of his first hospitaliza-
tion he wrote him imploring him for help: 'Now
you can show how good you are.'
It is reported that he said: 'I would like to see
on this earth a woman who has a lover even uglier
than myself.' This image of his physical self, with
its constant painful reminder, has been projected by
the artist in many distortions and caricatures, and
was probably an important unconscious factor in his
becoming the master of the caricature and of the
poster.
In one of his rare moments of complete candour
he confided to a friend that he would give away all
his talent for the fulfilment of his greatest wish, to
ride in the Bois de Boulogne as a slender officer.
It was due only to his bouts of alcoholic intoxica-
tion and, to some extent, to the joy of creation, that
the artist could bear the deep-seated depression of
his permanent mourning.
1 Quoted by Gerstle Mack, Toulouse-Lautrec, New
York, Knopf, 1942.
2 Ibid.
He explained to Yvette Guilbert' his fondness for
living in brothels, where he could observe the
essence of prostitution, the absence of all modesty,
and gain an insight into the misery of those poor
creatures, the slaves of love. He was their friend,
sometimes their adviser, never their judge; their
comforter, even more their sympathetic brother.
When he spoke of these unhappy women at some
length, the emotion in his voice betrayed such
intense pity in his heart that I have often wondered
if Lautrec did not find a kind of spiritual mission in
this outpouring of brotherly Christian compassion
for these women who had lost all sense of modesty
and pride.' And, in a passionate outburst, this is
what he had to say to her about love: 'Oh love!
love! ' said Lautrec, ' you may sing about it in every
key, Yvette, but hold your nose, my dear! hold
your nose! If you were to sing about desire one
could understand and even laugh at the variety of
its tricks-i-but love! my poor Yvette, there is no
such thing.' 1
Most likely he was never graced by the miracle of
requited love, and was as disappointed in this as in
his pathetic appeal for help which he addressed to
his father from the depth of his despair: 'Papa,
here is an opportunity for you to act like a good man.
I am imprisoned, and everything that is imprisoned
dies! ' 2
In this life without love there remained undiluted
sexual urge and the insatiable craving for oral
gratification which found expression not only in his
drinking but in his gourmandize as well. The
insatiability of his oral cravings was paralleled only
by his desire to see and by his wish to destroy
himself.
His friends could not help him: 'He seemed
determined to wreck his life as completely and as
rapidly as possible. 3
The unique sharpness of his brush and crayon,
though certainly above all an expression of his
genius, was also a tool of his implacable, truth-
seeking, savage aggression, just as his way of life
was an act of defiance and provocation. Some
women artists who sat for him, as, for instance,
Yvette Guilbert, the famous diseuse and chanteuse,
bitterly resented his merciless rendering of their
features: she called him ' the genius of deformity'.
Yet Lautrec explained to her that' everywhere and
always ugliness has its beautiful aspects; it is
thrilling to discover them where nobody else has
noticed them '.4
Was the artist not thus redeeming himself in
descending into the depths of ugliness and vice, just
as he was portraying his own misery in painting the
misery of the Jews of the Ghetto in his powerful
illustrations to Clemenceau's Au pied du Sinai?
Jane Avril, the dancer, painted by Lautrec,
a Ibid.
, Ibid.
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STRUGGLE AGAINST THE INTROJECTS
described him as ' a crippled genius, whose witty and
biting raillery must have helped him to conceal his
profound melancholy'.
The impetus of self-destruction which finally led
to his undoing was a most striking expression of this
melancholy acting out and of aggression turned
against the self.
The extraordinary persistence and obstinacy
which he put into destroying himself with fantastic
mixtures of alcohol, tells the tragic story of his
systematic suicide. It seems rather obvious that this
pattern of acting out was nothing but a systematic
annihilation not only of himself but also of his
parental images, indestructibly enshrined within his
ego. He took revenge on them for his misery, for
the rejection of his father, and for the devoted purity
of his mother.
I hope that these few sketchy remarks suffice to
show to what extent the drama of Toulouse-Lautrec
was a poignant illustration of the desperate struggle
of the ego against the introjects, In destroying him-
self the artist was also destroying his beloved mother,
to whom he was always returning from the maisons
closes and to whom he finally returned to die, and
his father, the proud descendant of the Crusaders.
Our last illustrations will be drawn from the
analytic observations of a patient we shall call
Raphael, a college student in his 25th year. I
shall mention only points relevant to our
discussion.
Raphael came for treatment after his spectacular
failure in a second college, a failure which was the
final outcome of a period of intense anxiety and
depression. Yet returning home did not relieve his
mental distress: he felt he could not live there,
despite a most friendly and understanding attitude
on the part of his parents. He left his home and
lived for many months with a girl six years his
junior. She went to work, while he used to stay in
her room, waiting for her, day-dreaming and
occasionally reading.
It appeared that the girl, herself very sick, became
to him a substitute for a good, all-giving mother.
Raphael felt intense fear and hatred towards his
mother and a much lesser hostility towards his
father. Another important character in his family
drama was a brother, two years his senior, who,
apparently, beset by some other or similar conflicts
and difficulties, took the way of escape from the
parental home and was living on a different
continent.
To Raphael his mother appeared as a powerful
witch (yet this was never a true delusion!) command-
ing his thoughts and his actions.
The flight from home (previously, after his mental
and scholastic difficulties in his first college, he
chose a school some thousands of miles away from
home) was the most primitive way to escape his
185
mother. Yet, since she obviously remained en-
shrined within his ego, the struggle continued
unabated, though in different form. Thus, he felt as
possessed by his girl friend as he did by his mother,
so that his substituting the former for the latter did
not diminish his anxiety, nor did it enable him to
resume any useful activity.
Analytic observation disclosed some recurring
reaction patterns. Raphael felt that his will was not
his own, he had no power of decision, he felt as
though he was hypnotized: his mother was behind
all his actions and ideas. Not only did he study for
her sake, but even such a simple action as, for
instance, brushing his teeth was performed by him
automatically, in her service.
As a result of these feelings Raphael experienced
at times a real loss of personal identity or of aware-
ness of the self. It was characteristic that these
experiences which were causing him intense anxiety
used to recur most poignantly during his analysis as
a reaction toward or resistance against all the strides
forward he made in his way of living and in his
studies. (He was able to resume his studies and to
live by himself.) Thus, it was clear that in these
experiences he was proclaiming his total surrender
to the maternal imago, trying to divest himself
thoroughly of his own ego feeling.
Time and again he was only too ready to yield to
his regressive tendencies on a large scale: he felt
an intense desire to stay in bed, unkempt and un-
washed, to be fed, taken to the bathroom, etc.
It was clear that, if left alone, all these reactions
might have culminated in such catatonic symptoms
as the automatism of command and some typical
forms of infantile regression. Yet on the positive
side the ego was trying to defend itself against these
dangers by negativism. Raphael felt what he called
a 'strong counter will', a wish to refuse all the
things he was supposed to do. This became most
dramatic in the recurring resistance which this
brilliant young man was displaying towards his
studies: there were moments when after a period of
excellent functioning, he was blocked to the point
of not being able to write a simple essay.
Of one of these especially painful blockings he
declared that he felt that should he write this paper
he would feel as though he was swallowed by his
mother. Another resistance against intellectual
production was of clearly anal origin: by handing in
his paper he would feel, he declared, as though he
had flushed it down the toilet. It was about the same
time that his mother came to visit him in his student
quarters. He felt strong embarrassment and
reluctance to let her into his room: apparently, this
was in response to his unconscious urge to surrender
to her, so that she could' take over '. The situation
was made worse by the fact that his surrender might
be witnessed-and thus his defeat made even more
shameful-by his landlady and fellow-students.
His scholastic activities were blocked by his
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186 G USTA V BYCHOWSKI
constantly relating his instructors (and even some
of his fellow students) to the parental, especially
maternal, imago: for instance, it would disturb him
to think that his French teacher did not really care
about his progress, since she was married and had
her own family, so that he, Raphael, played no part
in her life.
It became clear in the course of his analysis that
the analytic process was stimulating within his ego a
set of intense contrasting reactions. On the one
hand he was induced to discharge a considerable
amount of hostility toward the maternal introject
and thus was aiming at its total destruction. As
against this threat of loss of the internalized love
object the ego would set in motion reactions aiming
at restoring the introject under the guise of various
substitutes. Since both opposite sets of reactions
seemed to occur with equal intensity, the analytic
work seemed, time and again, of a rather Sisyphean
nature.
Here are a few illustrations of the above descrip-
tion. Raphael used to see what he described as
decomposed mental images of women: for instance,
he was seeing only their legs, 'like in a Cubist
painting'. In his art course he was most impressed
by scenes of torture in Breughel or by nails being
driven in the hands of Christ in pictures of the
Crucifixion. Thus, the maternal introject was
disintegrating under the impact of his hostility and,
by the same token, much of his hostility was
threatening the integrity of the self.
In defending himself against his urge for reaffirm-
ing his introjection of parental and substitute images,
Raphael was blocking his' doors of perception '.5
In particular he was defending himself against scopto-
philia: he felt his vision becoming blurred, and that
it was against his wish that he listened: time and
again hecould hear no better than dimly and described
his sinuses and Eustachian tubes as swollen.
And yet, much as he was trying to cut himself
off from the outside world and to rid himself of the
parental introjects, they were catching up with him
in a twofold way.
Firstly, he was regressing to some infantile stage
of development and was reactivating infantile
libidinal impulses, so as to re-establish and to main-
tain his contact with and allegiance to his original
objects. Instead of studying, he would, for instance,
feel compelled to betake himself to the Times Square
area and to enter one of the amusement centres
where he would look at pictures of nude females,
become aroused and have an ejaculation. Thus, he
was gratifying his scoptophilia and would accuse
himself of submitting to the power of the • peeping
machines '.
In trying to rid himself of his introjects, he was
experiencing the feeling of emptiness of his ego,
which he proceeded to fill in by passively submitting
to the impact of casual acquaintances or fellow
5 William Blake.
students. He would listen to the stories of a fellow
student's sexual exploits and would experience them
vicariously. Or in a more primitive identification
he would feel completely one with some homosexual
objects of original (brother) or substitute character.
He would fill himself, he said, with other people's
interests, since he had none of his own.
In the second place, while trying to rid himself of
his original introjects, he was unwillingly submitting
to the impact of new internal images which he
established as a result of recent contacts, since the
onset of his illness. They stuck within his ego
though he was trying to destroy them in outbursts
of furious hostility: among them were his former
therapist and the young couple in whose home he
lived after he left his own home and after analysis
had helped him to disentangle himself from his-
juvenile girl friend. These persons whom he hated
were very much on his mind and seemed to interfere
with some of his activities. Since he wished them
to die, in their malevolence they inevitably seemed
to destroy him as well. In trying to destroy them he
felt as though he was destroying himself. Masturba-
tion was experienced as self-castration.
Incidentally, Raphel developed what he called his
• theory of paranoia': he explained his suspicious-
ness as a reaction against his' blurred perception'.
In his wish to get away from the maternal intro-
ject, Raphael inevitably mobilized his homosexual
attachment to his father and, more particularly, to
his brother. This took the form of spells of com-
plete identification so that at times he felt he was
both himself and a fellow student.
The struggle against the internal images led to a
depletion of Raphael's ego. Consequently, people
and even inanimate objects acquired greater power
as contrasted with the painful feeling of his own
object weakness. At times his notes and textbooks
seemed alive and frightening.
Beset by all this strife and struggle, the ego quite
naturally was making constant attempts at regres-
sion. Relapses into masturbation were accompanied
by intense introversion and autoerotic fascination
with his own body. Yet at the same time destructive
impulses, directed at the introjects, were sapping
the strength of the somatic and mental ego.
Some of the reaction patterns described in
this clinical observation can be found on a
grandiose scale in certain manifestations of
group psychology. As one important illus-
tration I have pointed elsewhere certain themes
of religious experience (5). In addition I would
like to mention some aspects of Indian philoso-
phy which clearly reflect the struggle against the
introjects. Thus it becomes apparent that we
deal here with some of the universal patterns of
the mind.
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STRUGGLE AGAINST THE INTROJECTS 187

The Upanishads state clearly that the ego mistress or look on oneself as her handmaid, or
which has divested itself of internal images may as her child. I look on woman as my mother.
lose its attachment to the Maya that is the great To look on oneself as her handmaid is also
illusion, i.e. the belief in the existence of external good; but it is extremely difficult to practise
reality. In this way the ego may attain the Brah- spiritual discipline looking on woman as one's
man, that is, cosmic essence of things, which is mistress. To regard oneself as her child is a
identical with the Atman, that is the pure spirit, very pure attitude. My natural attitude has
dwelling within the Ego. The term Upanishad always been that of a child toward its mother.
itself means' Knowledge, or Vidya, which, when I regard the breast of any woman as that of my
received from a competent teacher, loosens mother' (8, p. 590).
totally the bondage of the world, or surely The essence of introjection as the principle of
enables the pupil to attain (i.e. realize) the Self, universal life has been most explicitly expressed
or completely destroys ignorance, which is in the famous Hymn to Food contained in the
responsible for the deluding appearance of the so called Black Yajurveda: food is announced
Infinite Self as the finite embodied creature' (7). as the source and substance of all things, it
Various stages of perfection of the Indian sage governs all vital processes. The same divine
lead ultimately to the ideal of the liberated man, milk that circulates through creatures here on
the one ' released while living'. Such a person earth sets aglow the suns-all the suns of the
has divested himself completely of all spheres of galaxy (8, p. 347).
reality, that is, in our terms, of all introjection: Thus one may say that some essential trends
thus, he could realize his true Self identical of religious and philosophical thinking seem to
with the essence of the Universe. oscillate between the worship of and the struggle
This basic idea has set the pattern for various against the introject. The former ultimately
philosophical systems known under the general leads to the submission of the ego to the idealized
name of transcendental idealism. In the Tantra and externalized introject; the latter to the
system of Hindu philosophy emphasis is laid on complete rejection and elimination of all intro-
intermediary stages of liberation from the jects; only a purified ego remains, self-centred
objects. Thus, Sri Ramakrishna explained to and self-sufficient. Yet this self-imposed iso-
a disciple that spiritual discipline in the company lation seems so difficult to bear that, in the last
of women is not desirable, since 'it is a very analysis, the ego resorts to special devices and
difficult path and often causes the aspirant's institutes reactions aiming at restoring the
downfall. There are three such kinds of original unity.
discipline. One may regard woman as one's

REFERENCES
(1) BYCHOWSKI, G. (1956). 'The Ego and the
Introjects.' Psychoanal. Quarterly, 25.
(2) - - (1956). 'The Release of Internal
Images.' Int. J. Psycho-Anal., 37.
(3) - - 'Walt Whitman: A Study in Sublima-
tion.' Psycho-analysis and the Social Sciences.
Vol. 3. (New York: Intern. Univ. Press, 1951.)
(4) - - ' From Catharsis to Work of Art: The
Making of an Artist.' In Psychoanalysisand Culture.
(New York: Intern. Univ. Press, 1951.)
(5) - - 'Origins of Religious Experience.'
Psychoanalysisand the Social Sciences. Vol. 5.
(6) PIERRE-QUINT, L. Le Combat de Marcel
Proust. (paris: Club Francais du Livre, 1955.)
(7) The Upanishads. Translated by Swami
Nikhilananda. (New York: Harper, 1949.)
(8) ZIMMER, H. Philosophies of India. Bollingen
Series, No. 26, Pantheon Books, 1951.
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3. During the term of any subscription the Licensed Materials may be used for purposes of research, education or other
non-commercial use as follows:
a. Digitally Copy. Authorized Users may download and digitally copy a reasonable portion of the Licensed Materials for their own use
only.
b. Print Copy. Authorized Users may print (one copy per user) reasonable potions of the Licensed Materials for their own use only.

Copyright Warranty. Licensor warrants that it has the right to license the rights granted under this Agreement to use Licensed
Materials, that it has obtained any and all necessary permissions from third parties to license the Licensed Materials, and that use of
the Licensed Materials by Authorized Users in accordance with the terms of this Agreement shall not infringe the copyright of any third
party. The Licensor shall indemnify and hold Licensee and Authorized Users harmless for any losses, claims, damages, awards,
penalties, or injuries incurred, including reasonable attorney's fees, which arise from any claim by any third party of an alleged
infringement of copyright or any other property right arising out of the use of the Licensed Materials by the Licensee or any Authorized
User in accordance with the terms of this Agreement. This indemnity shall survive the termination of this agreement. NO LIMITATION
OF LIABILITY SET FORTH ELSEWHERE IN THIS AGREEMENT IS APPLICABLE TO THIS INDEMNIFICATION.

Commercial reproduction. No purchaser or user shall use any portion of the contents of PEP-Web in any form of commercial
exploitation, including, but not limited to, commercial print or broadcast media, and no purchaser or user shall reproduce it as its own
any material contained herein.