One of the elements of Tagore's writing is the playing around with the concept of time. Tagore is interesting in being able to identify conditions in the present tense and examine how these "moments" are part of a larger scope, something that reflects the past and the future. In doing so, Tagore reconfigures time and our perception of it. The experiences we experience now is a part of something else, something larger, and in this we are enveloped with who we are now, who we might have been, and who we might be. This is where "Unending Love" finds itself.
The love that the speaker is experiencing with his beloved is something that is of the ages. This vision of love is one that is experienced right now, in its current form, but was something that is indelibly imprinted in the consciousness of time. The idea of "age after age" and the concept of love being "remade" almost brings to life that there is a spiritual connection between the two lovers, or at least felt by the speaker, that they have stood in their midst of this love "before" in a previous time. While the love that is spoken is specific between two people, it is also reflective of a universal construct that applies to "millions of lovers," bringing out the idea that the love shared is in fact, "unending."
One of the implications of this is that individuals are not in ownership of the love they share. Rather, they are a part of something infinitely more cosmic, an experience that is a small morsel of a larger feast. It is a very interesting conception of the individual self that is rendered in the poem. The speaker articulates a condition of love that is felt towards another, indicating it is a part of something larger. However, herein lies a potential paradox in that while it is expressed as something the speaker feels and something that is experienced, it is not the speaker's, and it does not belong to him. It is something that is universal, and something of which he and his love is a small part and has been a small part for some time. In this, there is a vision of love that encompasses both the specific and the universal, the present and all of time. Tagore's stamp in the poetry of love is to both praise and demystify the individual at the same time.
Rabindranath Tagore, Bengali Rabīndranāth Ṭhākur, (born May 7, 1861, Calcutta [now Kolkata], India—died August 7, 1941, Calcutta), Bengali poet, short-story writer, song composer, playwright, essayist, and painter who introduced new prose and verse forms and the use of colloquial language into Bengali literature, thereby freeing it from traditional models based on classical Sanskrit. He was highly influential in introducing Indian culture to the West and vice versa, and he is generally regarded as the outstanding creative artist of early 20th-century India. In 1913 he became the first non-European to receive the Nobel Prize for Literature.
The son of the religious reformer Debendranath Tagore, he early began to write verses, and, after incomplete studies in England in the late 1870s, he returned to India. There he published several books of poetry in the 1880s and completed Manasi (1890), a collection that marks the maturing of his genius. It contains some of his best-known poems, including many in verse forms new to Bengali, as well as some social and political satire that was critical of his fellow Bengalis.
In 1891 Tagore went to East Bengal (now in Bangladesh) to manage his family’s estates at Shilaidah and Shazadpur for 10 years. There he often stayed in a houseboat on the Padma River (the main channel of the Ganges River), in close contact with village folk, and his sympathy for them became the keynote of much of his later writing. Most of his finest short stories, which examine “humble lives and their small miseries,” date from the 1890s and have a poignancy, laced with gentle irony, that is unique to him (though admirably captured by the director Satyajit Ray in later film adaptations). Tagore came to love the Bengali countryside, most of all the Padma River, an often-repeated image in his verse. During these years he published several poetry collections, notably Sonar Tari (1894; The Golden Boat), and plays, notably Chitrangada (1892; Chitra). Tagore’s poems are virtually untranslatable, as are his more than 2,000 songs, which achieved considerable popularity among all classes of Bengali society.
In 1901 Tagore founded an experimental school in rural West Bengal at Shantiniketan (“Abode of Peace”), where he sought to blend the best in the Indian and Western traditions. He settled permanently at the school, which became Visva-Bharati University in 1921. Years of sadness arising from the deaths of his wife and two children between 1902 and 1907 are reflected in his later poetry, which was introduced to the West in Gitanjali (Song Offerings) (1912). This book, containing Tagore’s English prose translations of religious poems from several of his Bengali verse collections, including Gitanjali (1910), was hailed by W.B. Yeats and André Gide and won him the Nobel Prize in 1913. Tagore was awarded a knighthood in 1915, but he repudiated it in 1919 as a protest against the Amritsar (Jallianwalla Bagh) Massacre.
From 1912 Tagore spent long periods out of India, lecturing and reading from his work in Europe, the Americas, and East Asia and becoming an eloquent spokesperson for the cause of Indian independence. Tagore’s novels in Bengali are less well known than his poems and short stories; they include Gora (1910) and Ghare-Baire (1916), translated into English as Gora and The Home and the World, respectively. In the late 1920s, when he was in his 60s, Tagore took up painting and produced works that won him a place among India’s foremost contemporary artists.