Environmental discourses are a way to think about the environment by examining how people use language to discuss environmental issues. This examines how language and discourse affect the environment and ecology, and in turn how language is used in the interactions between humans, other species, and the physical environment. As a subgenre of it, prismatic ecology entails the study of water in literature which is often called the "Blue humanities". This field of scholarship focuses on the centrality of ocean imagery in literature, and aims to re-establish a humanistic connection with the ocean. Blue Humanities attempts to re-read the flotsam of canonical literatures by re-visiting literary studies and looking at the wreckage through a blue lens. The ocean has long been a potent symbol in literature and art, evoking a wide range of feelings and ideas, from the sublime to the tragic. In this context, an attempt has been made in this paper to develop a qualitative data analysis on the discourse features of the texts of three literary types viz. poetry, drama and prose narrative foregrounding hydro-centric diligence leading to anthropogenic conscientious effects. Firstly, Riders to the Sea by J.M. Synge is a play that focuses on how the sea is a constant threat to the humans and ironically it is vested with the sources of life and death. The play explores how humans cannot control nature and they must serve and conserve it instead. secondly, The Log from the Sea of Cortez by John Steinbeck details a six-week marine specimen-collecting boat expedition he made in 1940 at various sites in the Gulf of California that is also known as the Sea of Cortez reflecting on the author’s thinking that provides the prototype for many of the pivotal characters in his fiction, and the insights it gives into the philosophies of life. Thirdly, it analyses the poem "Praise Song for Oceania" by Craig Santos Perez that explores the relationship between the ocean and humanity, and the need to acknowledge the destructive effects of colonization and European exploration. It is a song of praise of water for having hydrologic cycles, dilute heavy metals, greenhouse gases, sewage and radioactive waste pollutants seeking excuse and develop oceanoptimism and expresses obligation for determining the destiny of the earth. Perez uses irony to convey his point of view, such as by "praising" the ocean's ability to tolerate mistreatment. In all these, the sea has been presented as a ubiquitous presence with enormous story-upturning power. It is observed that the dynamic interactive forces constructed in contexts of the writings constitute a strong cognition relating to the manifestations of water. The language of all the three writings have been replete with hydro-centric perspectives.