The speaker of "Come Home!" never says "I miss you" outright. Instead, the poem builds a season and asks a loved one to step into it. The title is an exclamation, but the poem itself is coaxing rather than commanding. Its central idea is that the speaker wants a beloved to return, and has arranged the whole world as persuasion. Come back when everything is gentle, the poem says, and nothing will stand in your way.
The structure creates the longing. Each stanza is a single sentence, and each one holds back its main verb. We get three "When" clauses in the first stanza and another to open the second before "Come home" finally arrives in line five. Waiting is built into the grammar. The reader has to sit through winter's departure, summer's arrival and the lengthening evenings, just as the speaker must.
The imagery moves through the year. The first stanza is about sound and warmth: winter winds "no more heard", summer that "sings in every bird" and "shines in every blossom". The repeated "in every" is worth noticing, because "joy's in every bosom" sits in the same grammatical pattern as the birds and blossoms. Human feeling and the natural world are tuned to the same key, and summer seems to live inside things. In the second stanza the picture ripens. Berries "gleam above the stream" and "half the fields are yellow", so colour enters and the season has deepened. The speaker seems to be watching time pass, and the image of half-yellow fields suggests the wait is getting long.
The sound of the poem works like a tune. Each stanza has six lines rhyming ababcc: "heard" with "bird", "bosom" with "blossom", then a closing couplet of "long" and "wrong". The second stanza matches it with "stream/dream", "yellow/fellow" and "among/song". The two-syllable rhymes, "bosom/blossom" and "yellow/fellow", fall softly and give the lines a lilting, almost sung feel, while the couplets close each stanza with a snap. The metre is mostly four-beat iambic, and "When WINtry WINDS are NO more HEARD" bounces along easily, with an unstressed extra syllable on the feminine-rhyme lines.
The most interesting phrase is probably "think no wrong". In a poem that is otherwise all birdsong and blossom, it is the one hint of shadow. Judging by the text, something may have come between the two people, whether a quarrel, a fault or only a fear of one. The poem never says. What it does is make resentment look out of place against such a bright background. The landscape is doing the arguing for the speaker.
The second stanza shifts the request. "Come home" in the first stanza points to a place, but now it is "Come back to me", which points to a person. The beloved becomes "my joyous dream", half real and half idealised, and the claim that "The world hath not thy fellow" is love-poem exaggeration at full stretch. The archaic "hath" and "thee" give the lines a formal, song-like tone, as if the speaker were singing rather than writing a letter. Then the request becomes a promise: "I will make thee Queen among / The Queens of summer and of song." The sentence runs over the line break, as if the speaker's enthusiasm cannot wait for the line to end. The final word, "song", also echoes the earlier "summer sings", so the poem ends by naming what it has been all along.
The poem is not complicated, and it doesn't try to be. Its appeal lies in how much it does with so little. A few repeated words ("when", "every") and a handful of plain images carry a whole emotional situation, and the plea is tucked inside what first looks like a description of the weather. It also shows how a poem can be tender without being sentimental. The speaker never begs. They offer a summer and a crown, and leave the loved one to decide.