Blake’s reputation as a poet rose rapidly after the publication of Frye’s Fearful Symmetry in 1947.  While Frye tended to emphasize a unifying system in Blake’s work, David Erdman in Blake: Prophet Against Empire (1954) saw Blake’s work as evolving with the events of a revolutionary time.  This view was dominant in the last two decades of the twentieth century, as scholars sought to situate Blake within various historical and cultural contexts. Well before the end of the century, Blake’s reputation had reached international proportions; translations of his poetry were complemented by exhibitions of his art in places as diverse as Spain, Israel and Japan.