This study employs the roknpayeh (Meter-base or Metric unit) tool to analyze the most commonly used Persian poetic meters in terms of the internal segmentation of their metrical circles (dāyerah-ye arkan). By redefining the concepts of the silent syllable (hejā-ye sokut) and the semi-long syllable (hejā-ye nimboland), the study underscores the importance of metrical circles in a precise, scientific, and musical examination of these meters. Additionally, it introduces key concepts such as metrical circle overlap and symmetry, exploring their role in the musical characteristics of widely used meters by categorizing them into binary and ternary time-unit divisions. Furthermore, the study demonstrates the actual structural composition of certain poetic meters using dāyerah-ye arkan and roknpayeh tools and proposes possible reasons for their frequent usage based on their resemblance to specific forms of Persian music, particularly Reng (Persian dance piece) and Chaharmezrab (fast rhythmic instrumental piece). The research primarily focuses on poetic meter, including the number of metrical bases (hexameter and octameter), as well as the internal rhythm of each base—defined by the arrangement and combination of short and long syllables within each unit (various types of roknpayeh).