Within the framework of a psychoanalytic approach to understanding gender roles in Early Modern culture, this thesis aims to acquire an understanding of what has been called for the sake of inquiry John Donne's "misogyny." In other words, this thesis, through a remembrance of the fact that a twenty-first century feminist conceptualization of misogyny cannot be applied to a Elizabethan poet without consciousness of the developments in gender identity and power relations which have occurred over the past half-millennium or so, seeks to gain an understanding of Donne's misogyny that is as untainted by twenty-first biases as possible. This study was applied exclusively to lyrics from Donne's "Songs and Sonnets." Specifically, the following poems are analyzed in this thesis: "The Broken Heart," "Confined Love," "Love's Alchemy," "Lovers. Infiniteness," "The Paradox," "Self-Love," "Song [Go and catch a falling star]," "To His Mistress, Going to Bed," "The Triple Fool," "Twicknam Garden," and "Woman's Constancy." These lyrics were chosen because they are especially pertinent to developing a complete understanding of Donne's complex attitudes towards women, gender, and sexuality. What this thesis is ultimately able to argue is that, though Donne's lyrics display an unquestionable misogyny, his poetry reveals that these feelings are created from a much more complex psychological anxiety about the impossibility of human intimacy. This fact does not allow a pardoning of Donne's misogyny, but it does help readers place it into the context of his larger psychological landscape.