Lukan iz Budakova ‘Ognjišta’ zadovoljava veći dio kriterija koje pred vodećeg junaka postavljaju Mieke Bal, Lynette Porter i William Faulkner. Učenost mu svakako nedostaje, a djelovanje prema vlastitim uvjerenjima biva dvojbenim i upravo stoga poticajnim problemom. Lukan se žrtvuje ako je potrebno, inteligentan je i mijenja strategiju u hodu, razvija se i stalo mu je do obitelji. Glede Faulknerovih zahtjeva on jest sućutan i ustrajan, a ima i elemente požrtvovnosti. Bitno je međutim što je ovaj lik nazočan u cijelom tijeku fabule romana i što on zadaje smrtni udarac antagonistu. S njegova stajališta ‘Ognjište’ prelazi iz tragedije u obredni tekst i konačno u romansu. Roman u potpunosti slijedi ustroj koji je moguće izvesti na temelju Fryeovih obilježja ovoga žanra u ‘Anatomiji kritike’. Lukan kao glavni junak spašava svoje ognjište pomoću Anere, onda je u svoju zadrugu prepisao i Blažićeve unuke, na kraju romana ubija neprijatelja, a selo Sveti Rok ostaje nerazoreno. Ne nedostaje ni mlada koju kao junak romanse mora na kraju zadobiti: više je puta naviješteno da bi to mogla biti upravo Blažićeva udovica Manda. Konačno, Lukan u sebi sažima obilježja cijeloga niza Budakovih junaka pa biva seljak, svećenik i ratnik, a spaja i elemente muških i ženskih likova iz svoje sredine.; Lukan fulfils most of the criteria set by Mieke Bal, Lynette Porter and William Faulkner pertaining to the hero of a literary work of art. He is certainly not a learned man, and acting according to his own convictions is ambiguous and therefore a very fruitful problem. Lukan does sacrifice himself when necessary; he is intelligent and knows how to change strategy en route; he is developing and is very careful regarding his family. In the scope of Faulkner’s conditions Lukan is compassionate, possesses perseverance and is able to sacrifice. It is important that the character is present during the entire development of the plot in the novel and he is the one who delivers the final blow to the enemy. From his point of view, Ognjište transfers from tragedy to ritual text and finishes in the genre of romance. The novel is a genuine romance as described by Frye in his Anatomy of Criticism. Lukan is the leading hero who saves his hearth, i.e. his family with the help of Anera, then he transfers his opponent’s grandchildren to his collective; in the end he murders the antagonist Blažić. The village of Saint Rocco remains indestructible. The bride, who should be won over by the victor, does not fail to appear. She is exactly Blažić’s widow Manda.