Among the enduring charms of Nezami's Haft Paykar is that it begs to be read in any number of ways. It is not merely a question of different levels of meaning or symbolism, although that certainly exists within the work. In a more basic, structural sense, the Haft Paykar can be examined at varying levels of focus. There are the stories told by Bahram Gur's seven princesses, which form the centerpiece of the poem. Each of these short stories could stand on its own, and yet each is presented within a certain frame by the princess who narrates it. The seven tales could in turn be taken as a collective unit, and yet they are all encased within the frame story of Bahram's reign. Even the tale of Bahram Gur is in some sense framed -- by Nezami himself. Faced with such narrative Chinese boxes, different readers may effectively end up reading very different stories. (For a case in point, see François de Blois' article on the Haft Paykar in Encyclopedia Iranica. He concludes, against other scholars, that the entire point of the seven princesses' stories is that they are a waste of time for Bahram, distractions from the actual work of ruling!) In this paper, I will start with the tale of the Sandal Dome, told by Bahram's Chinese princess, and work my way out. What appears at first to be a simple parable of two characters named Good and Bad may take on a different tone when considered in light of the princess' own commentary. Widening the perspective further, the Sandal Dome can be read alongside the Turquoise Dome, with the two commenting on each other. Finally, the Sandal tale (and its Turquoise cousin) may add perspective to the story of Bahram himself -- especially his later encounter with a shepherd. My primary goal is to show that it is both possible and fruitful to approach the narrative of the Haft Paykar from multiple angles and at multiple levels of focus, even simultaneously.