Goethe's libretti represent one of the last major lacunae in scholarly research on the author. Throughout his life Goethe took a keen and productive interest in all the European varieties of opera, as a connoisseur, impresario, and librettist. 17 texts for use as musical drama have come down to us. They make up an extensive corpus, and contrary to received thinking they are closely connected with the author's canonical works. Goethe's achievements as a librettist are especially well reflected in his work on Faust. »Faust II« may legitimately be regarded as a species of musical theatre that is both an effective libretto and a drama that can stand on its own without music.