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Dash

Long horizontal line punctuation mark

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Through Punctuation, Printing and William Shakespeare

Typical uses of dashes are to mark a break in a sentence, to set off an explanatory remark—similar to parentheses—or to show spans of time or ranges of values.

The em dash is sometimes used as a leading character to identify the source of a quoted text.

History

In her book on ellipsis, Ellipsis in English Literature: Signs of Omission, Anne Toner suggests that the first dash that has been found in printed English is from a letter in 1580 and the first use of the dash in English drama dates to a 1588 translation of Terence's Andria, by Maurice Kyffin, where it is composed of a line of hyphens:

In 1588 an edition of Terence's play the Andria was translated into English by Maurice Kyffin and printed by Thomas East. This play seems to contain the earliest markings of [the dash] in English drama [...]. On three occasions, a series of hyphens marks an incomplete utterance. In two of the three instances, one character is interrupted by another. In the second example, the speaker interrupts himself. The printer seems to have considered carefully the appearance of the mark, as the number of hyphens depends on whether they are placed alongside another mark of punctuation.

This was a brilliant innovation. There is no play printed before Kyffin's Andria and listed in W. W. Greg's Bibliography of English Printed Drama that marks unfinished sentences in this way. This is not to say that these were the first [dashes] in English print. There are appearances of the mark earlier in the 1580s. Henry Woudhuysen has identified dashes in letters printed in 1580 and 1585, where in both cases the mark occurs as part of an informal, conversational style.

The popularity of dashes in drama took off after Kyffin's usage; there were three examples in his 1588 translation of Andria, but the 1627 translation of the same play had 29. They appear in William Shakespeare's plays in addition to Ben Jonson's. In the first folio edition of Shakespeare's Henry IV, Part 1, Toner writes, "Hotspur dies on a dash", with his last words cut short.

In 1634, John Barton, an English schoolmaster, wrote in The Art of Rhetorick that "eclipsis" is much used in playbooks "where they are noted thus ---". Toner goes on to explain:

'Eclipses' in the seventeenth century were grammatical and typographical as much as they were astronomical (and in all of these forms they are exactly homophonic). In contemporary guides to rhetoric, the word 'eclipsis' was more common than 'ellipsis' with which it was interchangeable. The OED suggests that 'eclipsis' is perhaps 'confused' with 'ellipsis'. If this was the case, it was an entirely conventional confusion.

(The earliest example given in Ellipsis in English Literature of the mark nowadays called an ellipsis, . . ., is dated to 1710.)

In the early 17th century, in Okes-printed plays of William Shakespeare, dashes are attested that indicate a thinking pause, interruption, mid-speech realization, or change of subject. The dashes are variously longer ⸺ (as in King Lear reprinted 1619) or composed of hyphens --- (as in Othello printed 1622); moreover, the dashes are often, but not always, prefixed by a comma, colon, or semicolon.

Authors have sometimes had a negative view of the dash. In the 18th-century, Jonathan Swift rhymed "dash" with "printed trash", while Henry Fielding chose the name 'Dash' for an unlikeable character in his 1730 play The Author's Farce.

In 1733, in Jonathan Swift's On Poetry, the terms break and dash are attested for ⸺ and — marks:

Blot out, correct, insert, refine,
Enlarge, diminish, interline;
Be mindful, when Invention fails;
To scratch your Head, and bite your Nails.

Your poem finish'd, next your Care
Is needful, to transcribe it fair.
In modern Wit all printed Trash, is
Set off with num'rous Breaks⸺and Dashes—

On the topic of composing a dash out of a series of hyphens vs a single typographical rule, Toner observes:

In expensive folio editions, [...] including the first folios of Jonson and Shakespeare, the dash was evidently the prestige mark above a series of hyphens. While hyphens and dashes continued to be used interchangeably through the eighteenth century, there seems a discernable trend from early on towards using the dash where possible. A single rule or dash replicated more precisely the mark as commonly used in writing, but more importantly setting one mark rather than several would have caused a compositor less trouble. A single mark comes to have a greater aesthetic value, in a period during which there was growing appreciation of the ornamental value, and simply the neatness, of the page.

The dash made of hyphens became less and less common with time until its resurgence with typewriter conventions.

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Source and licence. Adapted from the Wikipedia article “Dash” (this version, 2026-09-09) by its contributors, shared under CC BY-SA 4.0. Lablypedia has left out its tables, references and most pictures, and linked it to other Lablypedia articles.