"What . . . 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.
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
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 a guitar.
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
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 of Athena.
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 her expressions.
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 are Melora.
Following are Meloras
interesting comments about Classical Greek, as a language:
Question: I have questions concerning the Greek language.
My guide mentioned some time ago that there are certain concepts
that can be brought in through the Greek language that we dont
have words for in the English language. Is that becasue of the
tonals or is it something else?
We understand this more to be a matter of the association of
the information memory from the life, much as we spoke of soul
fragments being stuck in time and having consciousness only of
what was going on when they "left." The values, memories
and associations with that life, having been expressed and thought
in that language, are more directly and readily accessible, and
are sort of resonated, or triggered, by the very words in which
they were expressed and thought.
its not just the limitations of the English language? Just
a familiarity with the sound of ancient Greek?
Familiarity with the sound of the Greek is a great part of it,
and there is some matter of idioms that are very difficult to
translate--that do not have equivalents in English precise enough
to express certain concepts, but that is the smaller part. You
could do the same thing by saying to yourself: "I am now
going to channel myself from that life," and then, even
if you heard it in Greek and didnt understand it with your
mind, now, speaking American English, the higher-consciousness
level that is telepathic (in which concepts are communicated,
really, without words), you would still be getting the meaning
even though youre hearing it in Greek. You would be translating
between lives telepathically. This is just the way we operate
when we "channel." So we do not speak to Jyoti Alla-An;
we come through her energetically and her brain translates our
"language" into words by way of what we call "energy
PART II of this article excerpts
material from an extraordinary session in November 1997 in which
Melora helped Athena retrieve a fragment of herself from a lifetime
in Classical Greece. Also: Athena's message in a 1995 channeling.