An Embodiment in Classical Greece

MELORA & ATHENA through Joanna Neff

"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.



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

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 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 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 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 Melora’s 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 don’t 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.

Question: So it’s 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 didn’t 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 you’re 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 information packets."

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.


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