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After mid-eighties, ecocriticism like feminism becomes to be what will survive from the intellectual ferment of the 1960s. It is true that ecocriticisrn comes in many guises and brings conflicting agendas. But we can put simply what ecocriticism means. Just as feminism criticism examines language and literature from a gender-conscious perspective, and Marxist criticism brings an awareness of modes of production and economic class to its reading of texts, ecocriticism takes an earth-centered approach to literary studies. All ecological criticism shares the fundamental premise that human culture is connected to the physical world, affecting it and affected by it. Ecocriticsm takes as its subject the interconnections between nature and culture, specifically the cultural artifacts of language and literature. It is extraordinary how profoundly the romantics seem to have thought so many of the problem which ecology think. Romantic poetry seems often to express an ecological point-of-view. Both preferring what nature can teach to what man has taught, and finding true and unalienated life in rural, pre-industrial communities seem equally characteristic of the Green movement and romantic poetry. For that reason, Green Romanticism will be at the center of any historically-informed ecocriticism. William Wordsworth's poetry is best suited to the easy conservationism, one of the so-called shallow ecological attitudes. His can be quoted praising the rural life of individuals and decrying the depersonalized life of people in industrialized cities. His bears witness to a profound interchange between man and nature, one of many questions from ecocritics and theorists. His "Nutting" is an ecological poem because of the clarity and sympathetic intelligence with which it looks into the reasons why we destroy our environment. He has learnt to understand some of the motives for his behaviour, but his poem recognizes that knowing the reasons is not the same as either knowing the answers or solving the problem. His early poem, "Lines left upon a seat in a yew-tree" is concerned with the man-nature relation, but it approaches the subject indirectly. Again, it is no simple poem about the influence of natural objects, but rather it concerns the failure of one recluse to derive comfort from the external scene. It suggested that the recluse failed to feel comfort because he cast the same misanthropy and self-pity on the landscape as he did on the cities. In order to derive comfort from nature, he should have experienced the profound interchange between himself and nature. This experience was described in "I wandered lonely as a cloud" perfectly. Nowhere is the interrelationship between the natural world and the human world more forcefully celebrated than in "I wandered lonely as a cloud". Finally, when we recognize that some doctrines in ecocriticism are 'How is nature represented in this poem? and What role does the physical setting play in the subject of this poem?', the main subject of the man-nature relation in Wordsworth's poetry is to be suited with ecocriticism.