MELORA & ATHENA through Joanna Neff
. . . I call Athena may be the archetypal source of the Essence
of similar incarnations. In other words, we of the family of
Athena are being spored with similar energies and styles to help
the archetypal person or greater daimon [Gr., divine
power] with "her" unfolding in the world of space
and time." --Jean Houston, A Mythic Life
Within his Ascension hierarchies,
Dr. Joshua David Stone lists Pallas Athena on the Karmic board
with the Lady Master Quan Yin. (Melora has stated that she is
"apprenticed" to Athena and that her work with soul
retrieval reflects Athena's role in helping us resolve karma.)
The ancient Greeks had various ways of referring to Athena, and
their use of Pallas was intentional. Pallas meant "virgin"
or "maiden." "Athena Parthenos" refers specifically
to the 40-foot statue of ivory and gold that sculptor Phedias
erected in the Parthenon, which was built on the Acropolis between
447 B.C. and 438 B.C.
MELORA ON ATHENA
Athena was embodied in a very ancient
time, much as Buddha was embodied. And so she was one of two
of those in the Greek Pantheon [all the gods of Olympus] who
was authentically an avatar. The other was Apollo. Like all great
avatars, Athena "was" a great spiritual being in service
to those on Earth. That is why the worship of Athena was so strong,
and that is why such great structures were erected to her. That
is why her energy is able to be in the statues. It was because
she was a being embodied on the earth--not just a concept, not
just channeling through someone from a disembodied state. The
other Greek "gods" were really intergalactic interlopers
with human-like characteristics. They had great powers, of course,
but they weren't very emotionally evolved as beings.
When Athena was embodied as an avatar
she was also simultaneously in other dimensions, in other roles
as a guide, as a goddess, as an Ascended Master, but also in
the body--for the same purpose as all of you are embodied. She
was here to anchor all of that consciousness and all the other
expressions of her (from the "highest" to the "lowest")
in her while she was in the body and merge them in consciousness.
This is why there was so much power, and why the impressions
her being made have lasted so long in memory, have endured over
the centuries: People experienced her in the body.
Jyoti Alla-An (Joanna Neff)
In late December 1997 I was guided
to do a meditation in which I would try to come into a heart
connection with an embodiment of Athena, for Melora wished to
help retrieve a lifetime of Athena. (Retrieval here means incarnational
merging.) I was told that to facilitate this I should try to
feel what it was like to be in the Acropolis in the Classical
Greek period (5th century B.C.). What follows are excerpts from
a transcription of the results of that meditation. I have retained
the original alternating of past-tense and present-tense verbs
in these passages.
I just completed a meditation suggested
by Melora. I went into meditation and came into the life and
embodiment of Athena. When I began my meditation I had a hard
time getting visuals on the Parthenon. When I finally did see
the Parthenon it was as if I was elevated in the air, almost
at the height of a helicopter, so that I would be about half-way
up from the base of the Acropolis. So I'm looking forward, laterally,
as though I'm suspended in the air, which is an interesting viewpoint.
When I first saw the Acropolis, it was
in ruins, like it is today, and then suddenly it changed. The
Parthenon "morphed," the way they do special effects
in movies, into its pristine, new form. The marble was very,
very white. I could see the sky between the pillars of the Parthenon,
and it was an intense, medium blue, almost like a Colorado sky.
The sun was at high noon, and in the meditation I got the impression
that when it was high noon there was much more shadow in the
Parthenon. If it was sunrise or more towards sunset, earlier
in the morning or later in the afternoon, there would actually
be even more light in the Parthenon than at high noon.
In the evenings the Parthenon was illuminated
predominantly by olive oil lamps. These were placed on the tops
of flat, half-pillars at the sides of the main court. As I saw
the Parthenon in its new, full-color state, I could feel a very
intense, variable wind, and I could hear the rustle of leaves
in the olive trees. I heard the sound of musicians playing in
the Parthenon. They were apparently playing lyres, and these
had a plucky sound, like the Japanese koto, not as resonant as
Then I was sort of inside the statue,
and it was very intriguing to me. I was seeing the statue from
all different perspectives. One perspective was of looking out
through the eyes of the statue at the people below. Then I was
seeing it from their point of view: how far up they had to look
to see the face of the statue.
Then I was beneath the statue in a golden
chamber. When you're in the golden chamber, which is a vast rectangular
room, you see a big pillar in the center of the chamber which
serves as the foundation on which the statue rests. I got the
impression that there were no chambers below the golden chamber
but that there were chambers adjacent to it. In fact, there was
a tunnel leading from the golden chamber right to the antechamber
in back of the Parthenon, where I sat in the throne last night
in my channeling.
Then, in my meditation, I asked about
the golden book, and I noticed that it had a solid gold, scroll
shaped design on either side. It was rather wide and rectangular,
so I would guess it would be about a foot-and-a-half wide. But
there were no book-type pages in it. There were these leaflets,
and they had letters carved out of them so that there would be
holes in the shapes of certain combinations of letters, and it
was the Greek alphabet. I got that these leaflets were set in
the base of the statue somehow from beneath, so that people above
couldn't necessarily see how they were set there or take them
out of the floor. These plates were sort of slid into position,
almost like photographic plates in those box cameras of the Old
West. Then these were illuminated from beneath, and the characters
were projected on the ceiling and sometimes even in the air within
the Parthenon, as in an observatory show.
I got that Athena had originally landed
on what would be the future site of the Acropolis in a lightship
that could be described as a big merkaba (not just a single being's
merkaba but a vast merkaba lightship) and that the Greeks erected
the Parthenon at the site of this merkaba landing. Essentially,
the energetic vibration of Athena's merkaba remained there as
long as she was there and served as the core energy that one
would feel when one went into the Parthenon.
I got that the dimensions of Athena's
merkaba itself, physically, in terms of energetic effect, could
be measured from the top of the statue so that it would be about
40 feet up from the floor and about 40 feet below the floor.
This ship was really like the star tetrahedron that we think
of as the merkaba shape energetically. Even though I didn't get
that rooms actually existed that far below the floor, the ship's
energetic structure remained in place. When you walked in to
see the statue and came near it, your feet were right about at
the midpoint of that merkaba vehicle. [I did not see the pool
that scholars say was right in front of the statue to humidify
the ivory so it wouldn't crack. Perhaps that was installed at
a later date.]
Then I asked to be taken to the chamber.
I was trying to figure out the relationship between the antechamber
in the back of the Parthenon and the golden chamber below the
statue. I got that there was a tunnel that led directly from
the golden chamber to the antechamber and that, in that embodiment,
Athena could also teleport and transmigrate. She could go to
various places by apporting, by disappearing, by materializing
and dematerializing. She would teleport to the golden chamber,
and from there she would inhabit the statue--enliven it, energize
it--and peer out through the eyes so that people would see the
eyes as though they were moving, and looking at the people, and
she would communicate with them telepathically. Or she would
teleport to the golden chamber and then literally walk back to
the antechamber as her place of privacy, and so forth. I was
also getting that she could apport to Mount Olympus to meet with
the intergalactic beings who impersonated gods and lived
on Mount Olympus. She was always negotiating in behalf of human
beings to try to save them from these arbitrary galactic beings.
The other priestesses of Athena in that
lifetime doubted and questioned her in that embodiment to the
extent that they called her powers trickery and to the extent
where that embodiment said she could no longer stay and do the
work that she had done there before. She feared that if she stayed
she would "harm" them further. What I experienced was
that the embodiment of Athena vibrated the light in her cells
beyond the speed of light, merged with her merkaba ship and essentially
"took off," vacating the Parthenon. And so her energy
left with that departure.
[I was guided to go back into the statue,
to look out of its eyes, to discern what it was that was being
asked of me by the people below.]
I was infusing them with energy, hoping to awaken them. I was
also sending telepathic information about them as light beings,
but they preferred to worship someone external to themselves
because of their awe but also because of their love and respect.
Their confusion between worshipping a statue and understanding
what I was trying to convey to them disturbed me greatly. They
would not receive the information from me in my embodied form
at all. That's the form in which they surrounded me and said,
"You're faking this. You're not really Athena." They
wouldn't accept that I could be embodied as a goddess, and they
preferred to worship the statue because of that.
[I was then asked to turn the focus
on myself as Athena--and not to focus on the individuals who
were mistaken about who I was. I was asked to forgive myself,
to accept the responsibility for having created the situation.] Having come from another universe, I was not
skilled at knowing how to communicate properly with them,. This
communicating through the statue had seemed to be the form that
was comfortable for them. I had enlivened the statue so that
they would receive energy and receive information. I see that
I did not know any other way, not wanting to frighten them, not
wanting to have them feel challenged by another person in the
body. Although I embodied as a high priestess of myself,
there was some resentment on their part that that was my position
as high priestess. I had not gone up through the ranks according
to their custom. I pretended to come from another place with
that title, and they were envious of that.
Melora Confirms the Athena Embodiment
We are Melora, and we wish to affirm that,
as our Jyoti says, in meditation she doesn't experience us in
the same way as she does when she directly "channels"
us. It's not as direct or as detailed. It's more as if we're
serving as a foundation but the feedback is not as specific.
This is why she seeks to channel our comments directly now. We
wish to confirm for her that the information is essentially correct.
Our Jyoti should indeed focus on Athena
from her emotions, for she is still referring to Athena as though
Athena is someone else and objectivizing the experience in a
way that is not allowing her to do the work that we have suggested
would be optimal. This would allow her to come into merging with
that entity whom she still sees as being different from her.
We wish her to operate in her meditation as though she were that
being, which indeed she is.
In Jyoti's meditation in which she saw
herself as a lifetime, an embodiment, of Athena, the other priestesses
accused her of trickery. And she was so overwhelmed by this accusation
and by her sense of service to them that she essentially "took
herself out" in a burst of light instead of ascending from
that lifetime. This would not be termed suicide. She really did
it the way monks self-immolateas a sacrifice. But the problem
is that she didn't ascend from that lifetime in that embodiment
and, indeed, needed to be retrieved as a past-life expression
Now when our Jyoti was told [by a guide
channeling through another channel in 1993] that Athena was the
4th member of The Council of Four, this was no falsehood. That
comment was appropriate to her understanding at that time. She
was told in the recent session that she was "a priestess
to herself." And so this life post-dated the emodiment of
Athena who landed in the space ship and for whom these great
temples in the Acropolis were erected. So there is our Jyoti's
embodiment in Classical Greece that she remembered in her first
hypnotic regression in 1979 (in which she's singing and playing
the part of Helen of Troy in the Acropolis amphitheater).
That life took place at the heart of the
dynamism of Classical Greece: Democracy had already been established,
the arts were fluorishing, and there was actually a matriarchy.
Our Jyoti enjoyed great prosperity and artistic fulfillment in
an environment that totally supported these. That is the life
that she is now remembering physically when this joy floods through
her. She can feel her body in that lifetime, the fabric she's
wearing and the warm Mediterranean breezes. That is the life
she is reconnecting with. She is reconnecting with her capacity
for joy, and that is the most predominant life of joy in all
The life as a priestess to Athena while
also being Athena also post-dates Athena's coming from another
universe and landing in the place now known as the Acropolis.
That "first" embodiment that the Greeks experienced
as Athena is not the one that Jyoti experienced during her vision
of the Parthenon and being in the golden chamber below the statue,
and so on. Because these lifetimes succeeded that landing, they
were oftentimes very painful because they Greek priestesses had
egos just as you have. That is not something historically isolated.
Our Jyoti is still confused in her current lifetime about the
pettiness of people, the lack of democratic ability to work together.
All of that stems from these lifetimes
and particularly from the lifetime we are focusing on today.
This is the wing of the soul group that we, Melora, resonate
with most strongly: Classical Greek expressions of our Jyoti
and of other members of her soul group, not just one period in
Classical Greece. That is why the connection is so strong and
that is also why, with the work our Jyoti is doing now, she's
coming into a consciousness in which she can feel her body in
that life. This kind of consciousness merging will become more
total. The embodiment in which Jyoti was singing and playing
the part of Helen of Troy is a pivotal lifetime for the joy factor,
and the Athena embodiment that we retrievedliterally these two,
specifically are key. One is about joy, creative fulfillment,
recognition and abundance; the other is about empowerment. Accepting
the empowerment, taking responsibility for it, and not abdicating
it because of petty ego "stuff" going on in people
around her. Not letting the reflection come from them and say:
"I made a terrible mistake. I'm a failure. I'm a bad person,"
which is what that embodiment believed. The other thing is that
during the session our Jyoti said, "Do you mean, Melora,
that I am in danger of NOT ascending in this lifetime because
of that?" and the answer was yes.
It is very clear that our Jyoti has no
ego involvement in this. In fact, she is more in disbelief about
it. She understands the complex numbers of expressions of any
being, and so, it's like: "Oh, we embodiments of Athena
are a dime a dozen." This is a good perspective to have.
We do not wish to diminish the importance of her work in these
other lifetimes and, as she so appropriately put it, we, Melora,
are very close to Athena. This is clearing up who we are "vs."
who Athena is, and so on. And so our Jyoti is clear that the
work that needs to be done is here and in those embodiments,
and she is not getting caught up in the glamour of who Athena
is as the ascended master. She's not really focused there, which
is excellent. We again assure Jyoti that we are clear, and that
it is obvious, that she has correct perspective on the experience
of and information about these embodiments of Athena and that
she realizes that her work is there.
Wishing you great joy of the light, we