Question: Are both Wilhelm Meister's Apprenticeship and Turandot considered literary accomplishments?

Context articles: Mignon desires her fatherland
Wilhelm Meister's Journeyman Years
Susanne von Klettenberg
Nur wer die Sehnsucht kennt
Wilhelm Meister's Apprenticeship
Mignon (Schubert)
Philinna
Turandot
None but the Lonely Heart (Tchaikovsky)
Hamlet (Liszt)

Mignon desires her fatherland (Dutch: "Mignon verlangende naar haar vaderland" ) is an 1836 painting by the Dutch-French artist Ary Scheffer.
 The picture depicts a young woman Mignon, inspired from a character in Goethe's novel "Wilhelm Meister's Apprenticeship".
 The 1866 Ambroise Thomas opera "Mignon" was based on the same character, and Scheffer's feminine representation of Mignon in a dress influenced her portrayal by Thomas.
 The painting currently hangs in the Dordrechts Museum in Dordrecht, Netherlands.
Wilhelm Meister's Journeyman Years, or the Renunciants, is the fourth novel by German writer Johann Wolfgang von Goethe, and the sequel to "Wilhelm Meister's Apprenticeship" ("Wilhelm Meisters Lehrjahre") (1795–96).
 Though initially conceived during the 1790s, the first edition did not appear until 1821, and the second edition—differing substantially from the first—in 1829.
Susanne Katharina Seiffart von Klettenberg (19 December 1723 – 16 December 1774) was a German abbess and writer.
 She was a friend of Katharina Elisabeth Goethe, the mother of writer Johann Wolfgang von Goethe.
 Klettenberg corresponded with Goethe, and he shaped a character, "Beautiful Soul," after her in his novel Wilhelm Meister's Apprenticeship.
 She was also a friend of Friedrich Christoph Steinhofer (1706–1761), a former co-episcopus of the Moravian Church.
"Nur wer die Sehnsucht kennt " ("Only he who knows yearning") is a poem by Johann Wolfgang von Goethe.
 The poem appeared in Goethe's novel "Wilhelm Meister's Apprenticeship".
 It is one of the songs of Mignon, a character in the novel.
Wilhelm Meister's Apprenticeship () is the second novel by Johann Wolfgang von Goethe, published in 1795–96.
Mignon, a character appearing in Johann Wolfgang von Goethe's writings such as "Wilhelm Meister's Apprenticeship" and "Wilhelm Meister's Journeyman Years", is the subject of several lieder by Franz Schubert.
Philinna (Greek: Φίλιννα ) or Philine (Greek: Φιλίνη ) was the name of many Greek females, as, for instance, of the female dancer Philinna of Larissa in Thessaly, who was the mother of Philip III Arrhidaeus by Philip II.
 It was also the name of the mother of the poet Theocritus (Ep.
 3).
 The name occurs in Aristophanes' drama The Clouds.
 In the eighteenth century Goethe used it for a character in his novel Wilhelm Meister.
Turandot ( ; ] ; ) is an opera in three acts by Giacomo Puccini, completed by Franco Alfano, and set to a libretto in Italian by Giuseppe Adami and Renato Simoni.
Pyotr Ilyich Tchaikovsky composed a set of six romances for voice and piano, Op. 6, in late 1869; the last of these songs is the melancholy "None but the Lonely Heart" (Russian: Нет, только тот, кто знал , "Net, tol'ko tot, kto znal"), a setting of Lev Mei's poem "The Harpist's Song," which in turn was translated from Goethe's "Wilhelm Meister's Apprenticeship".
Hamlet, S.104, is a symphonic poem by Franz Liszt, written in 1858 and published as No. 10.
 It was not performed until 2 July 1876.
 Like all but one of Liszt's 13 symphonic poems, "Hamlet" was written while Liszt was working in Weimar and is dedicated to Carolyne zu Sayn-Wittgenstein.
 After viewing Bogumil Dawison play Hamlet in Weimar (1856), Liszt wrote: "He does not make him into an indecisive dreamer who collapses under the power of his mission, as he is regarded since Goethe's theory in "Wilhelm Meister", but much more as a gifted, enterprising prince with important political views who is waiting for the right moment to complete his work of revenge and come to the aim of his ambition, that is, to be crowned king in place of his uncle.
 This goal can naturally not be reached in twenty-four hours and the clever anticipation which Shakespeare has put into the role of Hamlet and the negotiations with England which come clearly to the light of day at the end of the drama according to my view justify Dawson's interpretation, which Herr von Goethe and the aesthetes should not take too badly.
 Regarding Ophelia, Liszt wrote: "She is loved by Hamlet, but Hamlet, like every exceptional person, imperiously demands the wine of life and will not content himself with the buttermilk.
 He wishes to be understood by her without the obligation of explaining himself to her.
 She collapses under her mission, because she is incapable of loving him in the way that he must be loved, and her madness is only the decrescendo of her feeling, whose lack of sureness has not allowed her to remain on the level of Hamlet."
 Liszt's "Hamlet" is meant as a psychological study of the title character; only two brief references are made to Ophelia, both marked as "to be played as quietly as possible and sound like a shadowy picture."