"MO-AH": Was Jyoti really Anne Boleyn in
a past life?
MELORA: Yes. We corroborate that. She is
afraid that she is just getting involved in her ego. She is ever
vigilant about her ego. What she has been discovering in her
reading are some rather unsavory things about Anne Boleyn. She
wasn't a saint. She was politically ambitious. But one of the
other key things about this life besides the trauma that needs
to be healed is that she made a vow before she was beheaded to
renounce the privileges and the pleasures of that level of wealth
and influence. And so in working with this life we are removing
great blockages to having abundance come into this life. It was
almost what you could think of as a "death bed" renunciation
of all those things because she realized that in spite of all
the machinations of her father and everybody else . . . in those
days they were termed "toadies" to anybody influential
who could help bring them privilege and rank. They were virtually
prostitutes--all of them--in trying to get in good with so-and-so
and to marry well.
The women especially were
victims of having their fathers and brothers try to marry them
well to create more wealth and property and influence for themselves.
And so our Jyoti is finding another clue about why, in this lifetime,
she has not allowed herself to feel ambition. When she has, she
has been roundly "punished" for it. (This is largely
her own punishment of herself.) There are many aspects of this
that play upon this life and that influence this life in ways
that have been detrimental. We are working on these in the background.
[Here intervened a discussion
of 9th-dimensional Shakti Harmonics and some answers to personal
questions by a channel whom I had asked to work with Melora on
retrieving this past life expression.]
"MO-AH": Now let us work on this life of
Anne Boleyn. We would like to heal this life, for it influences
Jyoti's present-ness. Let us walk her through a visual meditation.
MELORA: Yes. [Here I went out of the
channeling state to undergo the work as "myself."]
"MO-AH": We wish to now lead you, Jyoti,
through a meditation that will bring forth this lifetime as the
being of Anne Boleyn. We shall now surround and encompass you
in a circular fashion, going behind you with our energies. We
shall now travel to the lifetime of the one Anne Boleyn. We are
now descending into the palace. You are now standing on a wooden
floor. Are your feet upon a wooden floor?
"MO-AH": Are you wearing a gown and, if so,
can you describe it?
JYOTI: I am seeing sort of a deep burgundy
color velvet. The waist is very cinched in, very tight at the
wrists, almost to the hand itself, with white lace over about
half the hand on each side. There's a ruff around my neck (the
stiff, white lace collar) and pearls around my neck. It feels
like I've worn the dress a whole lot of times; it's never been
washed. It's kind of stinky.
"MO-AH": What about not what you're wearing,
now, but smell, yes. What else might you smell?
JYOTI: The dampness and sort of a mold.
(I have a sensitivity to mold in this lifetime.) Things never
seem to dry out. A sort of mildew smell.
"MO-AH": Mildewey wood?
"MO-AH": The smell of wood. Wood everywhere.
Wood surrounds you. Walls, ceiling and floor. And, yes, it's
old, old wood and it does smell. It needs cleaning. Also, do
you hear something as you walk along this hallway now, do you
hear perhaps the creaking of the floor? Voices in other rooms?
JYOTI: Someone's playing music too. It
sounds like a lute--sort of a primitive guitar. It's being played
idly. It's not someone who's very good at it. The way someone
whistles no particular tune--someone in the room who's really
bored, who's just sort of plucking on the lute. The floor is
creaking. I get the impression of many things with many secret
things going on behind closed doors.
"MO-AH": Let us have you walk forward and
see if you can't receive an impression of what lies before you.
Which room are you heading towards?
JYOTI: I'm headed down a long, narrow hallway,
toward the end of a hallway, and I think the room is on the left
at the end of the hallway. I have a feeling of anxiety and excitement
at the same time. I'm holding up my skirts so I can walk a little
faster. They're great skirts sweeping along. I can feel the skirts
in my hands. I have very delicate, small hands.
"MO-AH": Yes. You're a very delicate woman.
Are you at the door? Is it a double door? A highly carved, ornate
JYOTI: I am seeing them now. They are a
deep walnut color.
"MO-AH": Ah, yes, indeed. Yes. Very dark.
JYOTI: There are even darker patterns sunk
in the walnut door.
"MO-AH": Is it not so that the artist, it
seemed, tried to carve so delicately this work but he did not
have the greatest ability and perhaps took on more than he could
JYOTI: I am seeing lions' heads.
"MO-AH": Yes, lions' heads too. Great curly-cue
designs all around the periphery of the door. Squares with different
carved faces. A horse, a unicorn, a lion in the center. We ask
you, when you are ready, to push the door forward and enter the
JYOTI: All right. This looks like the King's
"MO-AH": Just take a moment and be in that
space. Is it too dark for you?
JYOTI: There's a fire going at the other
side of the room, but it's still not very warm. The heat just
seems to go out through the walls.
"MO-AH": Does it seem like a private room?
"MO-AH": But not yours . . .
JYOTI: Right. There are furs on the floor.
"MO-AH": Do you feel fear?
JYOTI: I see a young woman who's like a
hand maiden. She curtsies in that way that the person bends forward
at the waist and curtsies at the same time. It's quite amazing--like
a jack knife opening and closing. She's holding her skirts as
well. She's asking me if there's anything that I need further.
I say no and send her away.
"MO-AH": Does she close the door?
JYOTI: Yes. I sit facing the fire, but
there's nothing close to the fire to sit on, but I can see the
light of the fire on my own face, as though I'm out of my body
and looking at my own face. [My descriptions of what follows
are stated with a tone of great weariness and heaviness.]
I know that the door has been opened because of the draft I feel
coming from the hallway. So I know the King is coming in, although
I'm not looking at him. He's coming in to my left and behind
me. I can feel his energy. He comes up behind me first, which
he always does, and strokes my neck rather low in the front.
And then he comes around before me. It is customary that I stand
and curtsey to him. That's the protocol that I must follow, regardless
of my relationship to him. I do this now. He sits down. He has
my hand, and tells me that I may sit down, so I do. We're facing
each other, sort of sideways--not head-on.
"MO-AH": Would it be possible to face this
JYOTI: I will ask him if I may move my
chair so that I may face him. I say to him that I am tired of
a lifetime of being used as a pawn. I'm even tired of my own
desire to further my family and myself. I enjoy my stay in the
Netherlands and my studies because I'm a scholar. I love and
appreciate scholarship and reading and education. I say to him
that I honor him and respect him and love him in my way but that
I have had so many disappointments and have been betrothed to
so many that have been broken off that it is as though my heart
is sealed. I cannot fall in love. I love him in my way, but I'm
not in love with him. He's more of a father figure in a way.
He offers me protection and the opulence. As cold as it is there,
it's more comfortable than other places. And the social access
because my social contacts mean so much to me. He admires my
beauty greatly. He's very smitten with me but also suspicious
of me. He thinks that I'm consorting with Cardinal Woolsey and
others that he's also suspicious of. He wants to maintain his
political power, and he's constantly having to make sure that
these men are under his control. And so I speak with him because
I find it interesting to know what's going on, just to have an
intellectual understanding--not to use against him. I understand
that he cannot trust anyone.
"MO-AH": He is a man who is so utterly alone.
He is a man who does not understand women, let alone love. He
can not ever feel comfortable with a woman, for he cannot let
go, even in an intimate situation. He is so bound by fear.
JYOTI: Yes. In bed he's like a pistol going
off. There's not much more than that. But he thinks that the
lust that he feels is love. I know that there is more, but why
should I tell him this? It is not my place, and I know being
Queen that power is an illusion. One must not ever let the King
feel that he has not power over one, even in the bedroom.
"MO-AH": Is that why you brought forth a
child that was less than perfect for him? To exert your power
JYOTI: I had not been aware that I created
this deformity. In fact, it put me in great fear for my life.
Why would I do that on purpose? It was totally desirable to bring
forth a surviving male heir. Why would I jeopardize that on purpose?
I assumed that eventually it would be like it was with Catherine,
where he would divorce me for not being able to bring forth a
surviving male heir. I assumed that I would be protected as long
as I kept getting pregnant. I also assumed that because of his
passion, or his lust, for me that I was protected. I remained
naïve, even with the information that I had from
such as Cardinal Woolsey.
"MO-AH": Let us conclude this meeting with
your husband. Bid him adieu and exit the room. Go to your bed
JYOTI: My own?
"MO-AH": Your own private bed chamber.
JYOTI: It is on the other side of the castle.
"MO-AH": Ah. Yes, indeed. And waiting for
you outside the door are your ladies-in-waiting, and they will
escort you to your bed chamber.
JYOTI: It is colder on that side. It is
on the north side of the castle. It discourages one from staying
in one's own bed chamber, you see. I can feel the wind blowing
through the walls. It is winter time. I feel that my heart is
empty. I sit in wonder of who I am in those times and half the
time can't believe that I'm Queen because it doesn't feel any
more wonderful than it was before. It wasn't the great thing
that I imagined it to be. It means disappointment even as I drive
myself forward in my daily activities. My ladies are sweet but
haven't the intellect to have interesting conversations with
me. That is not how they were raised; that's not what is expected
But I want to talk to someone.
No real friends. No one who is not there for their own gain too.
That is what I have done. I am very disappointed in myself I
think. I have reached the pinnacle of what a woman can achieve
and yet I'm disappointed in myself. I'm especially disappointed
in life. It all seems so frivolous--all these things that are
supposed to be so important, that drive people to sell themselves
out are nothing. They're like wisps of vapor.
I am inside my bed chamber
now. Everyone has left the room except for my favorite person.
I confide in her that I wish I were dead. It is so odd to have
such power in the World's eyes and to feel so powerless and destitute
in spirit. You die whether you play the game or not. I did ask
for this. I plotted and schemed and waited for this. I must have
tremendous power from someplace that I could be in this position.
And yet exercise no great power except over the King in his lust
"MO-AH": So you came to a density, a vibration
which was stronger than you had perceived from the soul level.
And you had a mission you wished to accomplish that did not flower.
There you were in this black chasm. Your light was poofed out.
You had, in a sense, your power taken away by these energies
of this building, which so greatly held the power of the King
and his psyche. He had tremendous psychic energies in the lower
levels supporting him in his deeds of creating control over human
beings so that they could not come to the light. You thought
you could come with your light and switch on the light, put a
flame to the candle and flicker in the darkness. You had intended
that people would see your flame and yet . . . not so.
JYOTI: Even the Churchmen are not of light.
"MO-AH": And yet those individuals who flock
around you when the King is not present--who feel a little more
safe around you than around him-would dare not say "I see
something before me," for it would be heresy. So, there
you sit on your bed, in the luxuriousness of 3-D "stuff,"
and you are trapped. What do you do?
JYOTI: The only way out at this point is
to die. To start over or just to cease to be, which is what I
"MO-AH": And it is still true that the King
does see a flicker of light in you. God forbid he should ever
acknowledge it to you. And so you agreed mutually on a higher
level: "Well, let's take care of this."
JYOTI: Yes. I see that.
"MO-AH": And so without any animosity on
his part, without, believe it or not, any emotion--for him death
is merely death and "as long as it isn't me, who cares?"
So he arranged to fulfill your dream by very quickly and very
painlessly snuffing out the flame.
JYOTI: Yes. I am resigned to my fate. I
wish to leave. My heart is like a stone.
"MO-AH": Athena stands behind you now, her
great light surrounding you.
JYOTI: Will she escort me to the light?
"MO-AH": Whenever you are ready.
JYOTI: I'm ready.
"MO-AH": Let go. Let go. Let go. Allow the
light to heal within yourself. For no being is ever judged. Forgive
yourself. Let go of the stone that is your heart.
JYOTI: This is going to take some integrative
work. I feel that I need a break.
# # #
this session ended prematurely because I felt too rushed, too directed,
by the other channel. Because of my work with Melora in Soul
Retrieval over the years, I knew that I needed fully to reexperience
the feelings of this lifetime-- especially because of the beheading
and the level of trauma it represented. Whenever I am uncomfortable
with the channeling process, Melora ends the session. This experience
pointed out to me once more that soul retrieval must be facilitated
by experts, and Melora is an expert in Higher-Dimensional Soul
BEHEADING as "one of the grossest perpetrations that can
be done on the physical body and the emotional body." (Melora)