William Golding himself, indeed, suggests Lord of the Flies (1954) to be a typical allegorical fable, but most of recent critics have tried to explore the uniqueness of the allegorical fiction: Dickson (1990) recognizes "double power" of traditional allegory and modern symbolism and Kermode (2004) reveals how "mythopoetic power" is wielded through the text above or against "Golding's programme." However, they hardly give some sufficient consideration to the nature of allegorical signification, as de Man points out. We try to re-read the allegorical fiction through paying the due attention of the temporality of allegory and narrating. As to the temporality of allegory, it is of very use to consult de Man's insight (1983) that "the meaning constituted by the allegorical sign can consist only in the repetition of a previous sign with which it can never coincide, since it is of the essence of this previous sign to be pure anterioriry." The repeated misreading of "signs" by some characters in the story world can well be explained as the temporality of allegorical signification itself. In Chapter 6, the sign "Beast" mistakenly produced by the twins Sam and Eric, produces in turn the other sign of "Lord of the Flies," while Simon who can only recognize the "Beast" to be the corpse of a fighter pilot with the open parachute is killed as the "Beast." The murder resulting from the allegorical signification of the sign "Beast" is consequently revealed by the narrating of the omniscient narrator, who suggests the possibility of the boys' intended misrecognizing Simon as the "Beast." The omniscient narrator manipulates the quantity of information through making so fully use of the narrative temporality that the reader can eventually recognize the characters' continual displacement of allegorical signs and its effect, while they cannot know what is "the Beast" or what is "Lord of the Flies" in the story world. This paper contends that the uniqueness of the allegorical fiction consists in its making use of the temporality of allegory and narrating which causes the effect of dramatic irony in which the reader's knowledge of events or individuals surpasses that of the characters. The device of dramatic irony is typically used in the last scene of the chapter 12, where the naval officer who appears as deus ex machina rescues Ralph in the war condition of the island. Referring to R. M. Ballantyne's The Coral Island, he misinterprets Ralph's remark "we were together then" as "we acted in united body at first." However, the reader who takes correctly the moment of "then" to be that of Simon's murder can note necessarily Ralph's remark implies that some characters might get involved in Simon's murder. As the naval officer does not realize the fact, so Ralph does not realize that he is engrossed in the war profession in the adult-world. The murder resulting from a sequence of allegorical signification is eventually disclosed through the omniscient narrator who makes good use of narrative temporality. As far as the island is governed by the allegorical sign of "Lord of the Flies," it cannot be a utopia but a dystopia, and at the same time The Coral Island adopted as one of the intertexts among others also proves nothing but a dystopia. It is one of the most impressive ironies that the island is not far remote or isolated from the adult-world, but is just about part of the battlefield of the war-torn adult-world.