In the article, the author turns to the last period in Marina Tsvetayeva’s creation after her return to homeland in 1939. In these years, Tsvetayeva, like many other poets of Soviet Russia, wrote next to nothing. She had to make her living by translating. She often translated second- or third-rate poets, but her translations also include texts working on which Tsvetayeva enjoyed. One of the latter is Baudelaire’s poem “Le Voyage” (in Tsvetayeva’s translation “Плаванье”). The author views the semantic shifts applied by Tsvetayeva as systemic deviation within her unitary translation strategy, and, turning to Tsvetayeva’s original poetry, shows their deep links with her artistic world. The analysis allows to draw the conclusion that Tsvetayeva’s late translations can be regarded as a distinctive substitute for the poet’s original creation, which makes them the most essential source for understanding her worldview in her last years.