Mune wa Fuji sode wa Kiyomi ga seki nare ya keburi mo nami mo tatanu hi zo naki - Shika Wakashu(English Translation & Meaning)

胸は富士袖は清見が関なれや
煙も波も立たぬ日ぞなき

Roma-ji: Mune wa Fuji sode wa Kiyomi ga seki nare ya keburi mo nami mo tatanu hi zo naki
English Translation: Is my breast Fuji,
and are these sleeves of mine
Kiyomi's barrier,
that not a day goes by
without both smoke and waves rising
Meaning: Is my breast Mount Fuji, and are my sleeves the barrier of Kiyomi? Not a day goes by without smoke and waves rising from them.
Commentary: Book Seven Love Poems I 213

The poet likens the longing in his breast to smoking Mount Fuji and his tear-soaked sleeves to the barrier of Kiyomi where waves wash ashore, declaring that neither smoke nor waves ever cease. Pairing two famous sites of Suruga Province, it is a witty poem with a pleasing rhythm.
Fujiwara no Shunzei is well known for remarking that the Shikawakashu contains many poems that put clever conceits first, and this poem is sometimes cited as a good example of that style. Some texts attribute it to Taira no Suketaka.

The first line, "mune wa Fuji" (my breast is Fuji), likens the fire of longing to the smoking mountain. It takes up the smoke of Fuji in poem 202 of this book, singing the fire of love with the same mountain.
The second line, "sode wa Kiyomi ga" (my sleeves are Kiyomi's), likens tear-wet sleeves to the barrier of Kiyomi, a seaside poetic place in Suruga. The first and second lines form a parallel couplet, "mune wa" and "sode wa."
The third line, "seki nare ya," is a question formed with "ya" after the perfective form, with a break after the third line.
The fourth line, "keburi mo nami mo" (both smoke and waves), sets Fuji's smoke and Kiyomi's waves side by side, matching each half of the parallel above.
The final line, "tatanu hi zo naki," forms a kakari-musubi of "zo" and the attributive "naki," ending firmly with a double negative: there is no day they do not rise. "Tatsu" (to rise) applies to both smoke and waves.
Source: Shika Wakashu
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