The 'Schismaticks of Amsterdam' were the extreme Puritans. See Jonson's The Alchemist for Tribulation Wholesome and 'We of the separation'.
Page 58. The Funerall.
l. 3. That subtile wreath of haire, which crowns my arme; 'And Theagenes presented her with a diamond ring which he used to wear, entreating her, whensoever she did cast her eyes upon it, to conceive that it told her in his behalf, that his heart would prove as hard as that stone in the admittance of any new affection; and that his to her should be as void of end as that circular figure was;' (compare A Ieat Ring sent, p. [65]) 'and she desired him to wear for her sake a lock of hair which she gave him; the splendour of which can be expressed by no earthly thing, but it seemed as though a stream of the sun's beams had been gathered together and converted into a solid substance. With this precious relique about his arm,' (compare The Relique, p. [62]) 'whose least hair was sufficient' (compare Aire and Angels, p. [22], 'Ev'ry thy hair' and note) 'to bind in bonds of love the greatest heart that ever was informed with life, Theagenes took his journey into Attica.' Kenelm Digby's Private Memoirs (1827), pp. 80-1. When later Theagenes heard that Stelliana (believing Theagenes to be dead) was to wed Mardonius, 'he tore from his arm the bracelet of her hair ... and threw it into the fire that was in his chamber; when that glorious relic burning shewed by the wan and blue colour of the flame that it had sense and took his words unkindly in her behalf.'
Theagenes was Sir Kenelm Digby himself, Stelliana being Lady Venetia Stanley, afterwards his wife. Mardonius was probably Edward, Earl of Dorset, the brother of Donne's friend and patron.
It is probable that this sequence of poems, The Funerall, The Blossome, The Primrose and The Relique, was addressed to Mrs. Herbert in the earlier days of Donne's intimacy with her in Oxford or London.
l. 24. That since you would save none of me, I bury some of you. I have hesitated a good deal over this line. The reading of the editions is 'have none of me'; and in the group of MSS. D, H49, Lec, while H49 reads 'save', D has corrected 'have' to what may be 'save', and Lec reads 'have'. The reading of the editions is the full form of the construction, which is more common without the 'have'. 'It's four to one she'll none of me,' Twelfth Night, I. iii. 113; 'She will none of him,' Ibid. II. ii. 9, are among Schmidt's examples (Shakespeare Lexicon), in none of which 'have' occurs. The reading of the MSS., 'save none of me,' is also quite idiomatic, resembling the 'fear none of this' (i.e. 'do not fear this') of Winter's Tale, IV. iv. 601; and I have preferred it because: (1) It seems difficult to understand how it could have arisen if 'have none' was the original. (2) It gives a sharper antithesis, 'You would not save me, keep me alive. Therefore I will bury, not you indeed, but a part of you.' (3) To be saved is the lover's usual prayer; and the idea of the poem is that his death is due to the lady's cruelty.
Come not, when I am dead,
To drop thy foolish tears upon my grave,