[''Στράβων (ΙΔ', 648, 41): "τον Αναξήνορα τίμησαν τα θέατρα (το κοινό των θεάτρων) και ο Αντώνιος, ο οποίος τον διόρισε φορολόγο τεσσάρων πόλεων δίνοντάς του και στρατιώτες. Και η πατρίδα του τον ανέβασε αρκετά, ντύνοντάς τον με την πορφύρα [δίνοντας του τον τίτλο] του ιερέα του Σωσιπόλιδος Δία, καθώς μαρτυρεί επιγραφή στον ανδριάντα του στην αγορά. Υπάρχει και ένας χάλκινος ανδριάντας του ("χαλκή εικών") στο θέατρο με την επιγραφή που τελείωνε "...οίος οδ' εστί, θεοίς εναλίγκιος αυδή" (τέτοιος είν' αυτός, όμοιος προς τους θεούς στη φωνή)".']
Strabo, Geography
Strab. 14.1.41
[41]
ἄνδρες δ᾽ ἐγένοντο γνώριμοι Μάγνητες Ἡγησίας τε ὁ ῥήτωρ, ὃς ἦρξε μάλιστα τοῦ Ἀσιανοῦ λεγομένου ζήλου παραφθείρας τὸ καθεστὼς ἔθος τὸ Ἀττικόν, καὶ Σῖμος ὁ μελοποιὸς παραφθείρας καὶ αὐτὸς τὴν τῶν προτέρων μελοποιῶν ἀγωγὴν καὶ τὴν σιμῳδίαν εἰσαγαγών (καθάπερ ἔτι μᾶλλον λυσιῳδοὶ καὶ μαγῳδοί), καὶ Κλεόμαχος ὁ πύκτης, ὃς εἰς ἔρωτα ἐμπεσὼν κιναίδου τινὸς καὶ παιδίσκης ὑπὸ [τῷ] κιναίδῳ τρεφομένης ἀπεμιμήσατο τὴν ἀγωγὴν τῶν παρὰ τοῖς κιναίδοις διαλέκτων καὶ τῆς ἠθοποιίας: ἦρξε δὲ Σωτάδης μὲν πρῶτος τοῦ κιναιδολογεῖν, ἔπειτα Ἀλέξανδρος ὁ Αἰτωλός: ἀλλ᾽ οὗτοι μὲν ἐν ψιλῷ λόγῳ, μετὰ μέλους δὲ Λῦσις, καὶ ἔτι πρότερος τούτου ὁ Σῖμος. Ἀναξήνορα δὲ τὸν κιθαρῳδὸν ἐξῆρε μὲν καὶ τὰ θέατρα, ἀλλ᾽ ὅτι μάλιστα Ἀντώνιος, ὅς γε καὶ τεττάρων πόλεων ἀπέδειξε φορολόγον στρατιώτας αὐτῷ συστήσας. καὶ ἡ πατρὶς δ᾽ ἱκανῶς αὐτὸν ηὔξησε πορφύραν ἐνδύσασα ἱερωμένον τοῦ σωσιπόλιδος Διός, καθάπερ καὶ ἡ γραπτὴ εἰκὼν ἐμφανίζει ἡ ἐν τῇ ἀγορᾷ. ἔστι δὲ καὶ χαλκῆ εἰκὼν ἐν τῷ θεάτρῳ ἐπιγραφὴν ἔχουσα “ ἤτοι μὲν τόδε καλὸν ἀκουέμεν ἐστὶν ἀοιδοῦ τοιοῦδ᾽, οἷος ὅδ᾽ ἐστί, θεοῖς ἐναλίγκιος αὐδῇ.
”1 οὐ στοχασάμενος δὲ ὁ ἐπιγράψας τὸ τελευταῖον γράμμα τοῦ δευτέρου ἔπους παρέλιπε τοῦ πλάτους τῆς βάσεως μὴ συνεξαρκοῦντος, ὥστε τῆς πόλεως ἀμαθίαν καταγινώσκειν παρέσχε διὰ τὴν ἀμφιβολίαν τὴν περὶ τὴν γραφήν, εἴτε τὴν ὀνομαστικὴν δέχοιτο πτῶσιν τῆς ἐσχάτης προσηγορίας εἴτε τὴν δοτικήν: πολλοὶ γὰρ χωρὶς τοῦ ι γράφουσι τὰς δοτικάς, καὶ ἐκβάλλουσι δὲ τὸ ἔθος φυσικὴν αἰτίαν οὐκ ἔχον.
[41]
Among the illustrious natives of Magnesia were Hegesias the orator, who first introduced the Asiatic fervour, as it was called, and corrupted the established Attic style of eloquence; Simon (Simus?) the lyric poet, who also corrupted the system and plan of former lyric poets, by introducing the Simodia; it was still more corrupted by the Lysiodi and Magodi;1 Cleomachus the pugilist, who was enamoured of a certain cinædus, and a female servant, who was maintained by the cinædus, imitated the sort of dialect and the manners of the cinædi. Sotades was the first person that employed the language of the cinædi, and he was followed by Alexander the Ætolian; but these were only prose writers. Lysis added verse, but this had been done before his time by Simus.
The theatres had raised the reputation of Anaxenor, the player on the cithara, but Antony elevated him as high as possible, by appointing him receiver of the tribute from four cities, and by giving him a guard of soldiers for the protection of his person. His native country also augmented his dignity, by investing him with the sacred purple of Jupiter Sosipolis, as is represented in the painted figure in the forum. There is also in the theatre a figure in brass, with this inscription: “‘It is truly delightful to listen to a minstrel such as he is, whose voice is like that of the gods.’2” The artist who engraved the words was inattentive to the space which they would occupy, and omitted the last letter of the second verse, αυδηι, (voice,) the breadth of the base not being large enough to allow its insertion; this afforded an occasion of accusing the citizens of ignorance, on account of the ambiguity of the inscription; for it is not clear whether the nominative αυδη, or the dative αυδηι, is to be understood, for many persons write the dative cases without the ι, and reject the usage, as not founded on any natural reason.
1 These innovations or corruptions were not confined to the composition of pieces intended for the theatre, but extended also to the manner of their representation, to music, dancing, and the costume of the actors. It was an absolute plague, which corrupted taste, and finally destroyed the Greek theatre. We are not informed of the detail of these innovations, but from what we are able to judge by comparing Strabo with what is found in Athenæus, (b. xiv. §14, p. 990, of Bohn's Classical Library,) Simodia was designated by the name of Hilarodia, (joyous song,) and obtained the name Simodia from one Simus, or Simon, who excelled in the art. The Lysiodi and Magodi, or Lysodia and Magodia, were the same thing, according to some writers. Under these systems decency appears to have been laid aside.
Strabo. ed. A. Meineke, Geographica. Leipzig: Teubner. 1877.
http://www.perseus.tufts.edu/hopper/text?doc=Strab.+14.1.41&fromdoc=Perseus:text:1999.01.0197