'like young thieves in a glowing orchard'

Rawlins mounted up. You ready? he said.

I been ready.

They rode out along the fenceline and across the open pastureland. The leather creaked in the morning cold. They pushed the horses into a lope. The lights fell away behind them. They rode out on the high prairie where they slowed the horses to a walk and the stars swarmed around them out of the blackness. They heard somewhere in that tenantless night a bell that tolled and ceased where no bell was and they rode out on the round dais of the earth which alone was dark and no light to it and which carried their figures and bore them up into the swarming stars so that they rode not under but among them and they rode at once jaunty and circumspect, like thieves newly loosed in that dark electric, like young thieves in a glowing orchard, loosely jacketed against the cold and ten thousand worlds for the choosing.

--Cormac McCarthy, All the Pretty Horses (1992)

'another alternative than to obtain the superfluities'

When a man is warmed by the several modes which I have described, what does he want next? Surely not more warmth of the same kind, as more and richer food, larger and more splendid houses, finer and more abundant clothing, more numerous incessant and hotter fires, and the like. When he has obtained those things which are necessary to life, there is another alternative than to obtain the superfluities; and that is, to adventure on life now, his vacation from humbler toil having commenced.

—Henry David Thoreau, Walden; or, Life in the Woods (1854)

'snatching necklace after necklace from the sea'

The wind freshened, and the Spray rounded Deer Island light at the rate of seven knots.

Passing it, she squared away direct for Gloucester to procure there some fishermen's stores. Waves dancing joyously across Massachusetts Bay met her coming out of the harbor to dash them into myriads of sparkling gems that hung about her at every surge. The day was perfect, the sunlight clear and strong. Every particle of water thrown into the air became a gem, and the Spray, bounding ahead, snatched necklace after necklace from the sea, and as often threw them away. We have all seen miniature rainbows about a ship's prow, but the Spray flung out a bow of her own that day, such as I had never seen before. Her good angel had embarked on the voyage; I so read it in the sea.

—Captain Joshua Slocum, Sailing Alone Around the World (1900)

'one insular Tahiti'

... consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half known life. God keep thee! Push not off from that isle, thou canst never return!

—Herman Melville, Moby-Dick ch. 58 (1851)

But it doesn't know that.

BEGGAR

See the smoke trembling under the roof as if with fright? Yet when it gets out in the air, it has the whole sky to swirl about in. But it doesn't know that, so it huddles and trembles in the soot under the roof. It's the same with people. They quiver like a leaf in the storm, afraid of what they know, and what they don't know.

—Ingmar Bergman's "The Virgin Spring" ("Jungfrukällan") (1960) (screenplay by Ulla Isaksson; translation possibly by Lars Malmström & David Kushner)

'the ungraspable phantom of life'

Why is almost every robust healthy boy with a robust healthy soul in him, at some time or other crazy to go to sea? Why upon your first voyage as a passenger, did you yourself feel such a mystical vibration, when first told that you and your ship were now out of sight of land? Why did the old Persians hold the sea holy? Why did the Greeks give it a separate deity, and own brother of Jove? Surely all this is not without meaning. And still deeper the meaning of that story of Narcissus, who because he could not grasp the tormenting, mild image he saw in the fountain, plunged into it and was drowned. But that same image, we ourselves see in all rivers and oceans. It is the image of the ungraspable phantom of life; and this is the key to it all.

—Herman Melville, Moby-Dick, or the Whale (1851)