Nabi, who was the most important representative in Turkish literature of the hikemi genre, lived in the eighteenth century. The expert poet who had works titled Divan, Farsça Divançe, Fetihname-i Kamaniçe, Hayriyye, Hayrabad, Münşe’at, Surname, Tercüme-i Hadis-i Erba’in, Tuhfetü’l-Harameyn and Zeyl-i Siyer-i Veysi, influenced many classical school poets, both in the century he lived and later. This influence was not only from the aspect of the hikemi genre, but it was also through his works. This article studied in detail the arzuhâl (petition) written in verse titled Mesnevî El-Müsemmâ Bi-Gülşen-i Devlet Bâ-Istılâh-ı Dîvân-ı Hümâyun composed of 182 couplets included in the Turkish Divan (poet’s collected poems arranged alphabetically) and that has not been examined in detail in academic studies. Petition, the term of classical Turkish literature, was defined as written in verse by a poet that presented the material and spiritual situation of a statesman, which listed his demands and that expressed his complaints. Fifty-nine petitions were determined written in the mesnevi (poem made up of rhymed couplets, each couplet being of a different rhyme) genre in classical Turkish poetry. Of these, 13 were written in the eighteenth century, with three by Nabi. The third petition of the poet, which is the subject of the article, is the Gülsen-i Devlet, with its brief name, and displays originality within the petitions, both for arrangement attributes and from the aspect of using the literary garden concept of the Dîvân-ı Hümâyun (Imperial Chancery of State) expressions and also stated in its title. The introduction of the article mentioned the petition in the historical and literary context and dwelled upon Nabi’s first two petitions. Subsequently, the form attributes of the Gülsen-i Devlet were studied carefully, and it was explained how it was set up. Afterwards, by giving information with the alphabetic listing about the expressions of the Dîvân-ı Hümâyun mentioned in the Mesnevî, it was explained how the elements were used in the couplets. Whereas, after explaining according to the couplets how they were expressed in the petition, it progressed to the results section of the article. Here it dwelled upon whether the Gülsen-i Devlet should be counted as a separate work by Nabi and on petitions and extensively on their place and importance within classical Turkish literature.