Schumann Humoreske - Honing The Pianistic Self-image

I would like to ask to Alan Fraser and the members of the forum: in the chapter "Windows in Time" (pag.271) I don't understand in which way Schumann' Humoreske should be a "masterful retake on Carnaval" (I would like to know that because I'm writing a thesis on that piece) Gabriele Lucherini

Carnaval depicts in music a cast of characters taken from pantomime and other traditional forms of theatrical entertainment as well as characters from Schumann's life. he jumbles them all up to create a cornucopia of characters in sound. Humoresque also presents a series of short movements that each characterize someone or something, though in this case it is not so obvious who or what is being depicted. Schumann loved this form - a large composition consisting of many small movements parading past the listener like a cast of characters - beginning with Papillons, then later the Davidsbundlertanze, then Carnaval, then Kinderszenen and Kreisleriana, and finally Humoresque. Of all its precursors, Humoresque resembles Carnaval the most in terms of overall length and number of movements. I know this doesn't really tell you very much which you could use in your thesis, but I hope I have at least explained why I made that comment in my book... AFF

Ah, ok. In this way, I understand. Thank you