What if our approach to Apollinaire's free verse turned away from the prose decoupage of "La Maison des morts" in favor of rereading the oldest free-verse poem in Alcools: "La Synagogue"? That is, a poem in which the irruption of the new rhythm coincides with the insults of German Jews, and which ends with a line phonetically transcribing a verse from Hebrew. This would be an opportunity to define a multicultural use of free verse informed by Apollinaire's multiple identity.